The little red dress returns.
by Paul J. Pelkonen
This stripped-down Willy Decker staging of La Traviata (introduced at the very end of 2010)
eliminates the elegance of 19th century Paris for a bare, clinical room, a single curved bench and a giant clock that ticks down the remaining minutes in the life of Violetta, the courtesan who is at the heart of Verdi's most intimate tragedy.
by Paul J. Pelkonen
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| A boy, a girl and a timepiece. Marina Poplavskaya (right) in La Traviata. Photo by Ken Howard © 2010 The Metropolitan Opera. |
eliminates the elegance of 19th century Paris for a bare, clinical room, a single curved bench and a giant clock that ticks down the remaining minutes in the life of Violetta, the courtesan who is at the heart of Verdi's most intimate tragedy.
