But the set was amazing, as were the monsters - this is really something to see for Julie Traymor's production rather than anything else. It might be better if they ever got around to rewriting the second act, though, which is the bit at which I think the composer got a bit bored and started reusing his old film scores.
The La Traviata I saw for my birthday was nice - the lead soprano (Futral) is absolutely astonishing and worth going to anything to hear. And she can act (though not so much in this) - I saw her a couple of years ago as Cleopatra in Handel's Julius Caesar, and she was astonishingly good. She ripped my heart apart in that farewell scene with Alfredo and in the horrible bit at the party where he flings money in her face and she colllapses.
But here the production was a bit wobbly. La Traviata doesn't strike me as an opera which updates that easily - the plot is rather wobbly and only totters along if you get into the 19th century hypocrisy and demand for courtesans. (As opposed to prostitutes). But they updated it to the 1920s which got rid of the lovely 1850s gowns in favour of some rather nice flapper costumes. But the updating made no sense thematically; you're not getting anything out of moving a plot about double standards and bourgeois small-mindedness into a era in which many of those double standards are being very publically challenged.
Also, sadly there was no real set to speak of, except for some mad thing with black matting and spider webs painted on it for Flora's party in the second act. There were also, sadly, disco balls. I do not like disco balls. Except in 70s films.
And the side effect of having actual life things going on was that I entirely missed reading dw_hate. Which is probably good for my psyche but now everyone is talking about stuff and I am getting a bit confused.