We are a commune of inquiring, skeptical, politically centrist, capitalist, anglophile, traditionalist New England Yankee humans, humanoids, and animals with many interests beyond and above politics. Each of us has had a high-school education (or GED), but all had ADD so didn't pay attention very well, especially the dogs. Each one of us does "try my best to be just like I am," and none of us enjoys working for others, including for Maggie, from whom we receive neither a nickel nor a dime. Freedom from nags, cranks, government, do-gooders, control-freaks and idiots is all that we ask for.
Very good voice. I am proficient to fluent in Spanish, but had trouble connecting the voice to the words on the screen. Which makes me think that my previous approach of not bothering with understanding the lyrics of classic opera was the right approach. If the voice sounds good, that's enough.
For another example of appreciation of a great voice transcending not understanding the lyrics, listen to Portuguese fado singer Amália Rodrigues interpret Uma Casa Portuguesa. Well, it IS a Portuguese house, so I am not completely lost.
Interesting factoid about La traviata - it was adapted from Alexander Duma's novel La Dame aux camélias or The Lady of The Camellias. "La traviata" or The Fallen Woman (alternatively "The Woman Who Strayed. It was originally entitled Violetta, after the main character.
Verdi was a rather interesting character not so much for any shenanigans but for the times he lived in. At one point Verdi's operas were interpreted as Risorgimento (recolutionary) works riddled with hidden messages. At one point even his name became a political football - Viva (V)ittorio (E)manuele (R)e (D)'(I)talia or Viva Victor Emmanuel King of Italy.
He wrote some of the more memorable operatic songs - "La donna è mobile" - Rigoletto, "Va, pensiero" - Nabucco, "Libiamo ne' lieti calici" - La traviata and the "Grand March" from Aida. Look 'em up on Youtube - they are instantly recognizable.
I'm going to speak some heresy here, but I find her voice horribly harsh for a lyric soprano. Admittedly, from a technique standpoint, she is clearly brilliant. I'm speaking more of the tone and tenor of her voice.
I think part of it is that she isn't a typical operatic soprano - she's novel in that aspect and that's why she attracts acclaim. Which is fine - just not my cuppa if you will.