A Must? - For whom?

If this new "La Traviata" was a must, then should not there at least ten other complete recordings of works from the last 50 years. Who is even moderately open mind and can not be lulled by the advertising drums the record industry, which is likely to be warmly expendable this production.
This is not to deny that Anna Netrebko has a beautiful, youthful voice, but that is still far from adequate interpretation of Verdi's most sophisticated opera guaranteed. Her partner, Rolando Villazón and Thomas Hampton, give an acceptable atmosphere, and Carlo Rizzi and the Vienna Philharmonic Orchestra provide a beautiful and sophisticated soundscape. But what does this mean for the work and especially for the potential buyer, who must dig deep into his pocket?
Anyone who has ever heard Maria Callas in the title role, which can not be satisfied here. They hear their live recordings from Milan (1955) under Giulini, of Lisbon (1958) Ghione or from London (1958) under Rescigno and then in their technically Although only modest studio production from 1953 (Cetra) under Gabriele Santini, and already all comparisons ban with a rapidly made, on "cash and carry" parked recording, so good this may be technically managed.
Who owns the aforementioned legendary Callas interpretations with their enlivening the role you will be formally carried away and moved to tears, because it is not only sung, but lived and suffered, and Who will be on the great recordings under Pritchard (Decca) with Joan Sutherland has, under Carlos Kleiber (DGG) with Ileana Cotrubaş under Prêtre (RCA) with Montserrat Caballé or under Riccardo Muti (EMI) with Renata Scotto, who can do without the proffered here Product "for fast market" no less than ,
For those who have experienced live at the Salzburg Festival Stage Anna Netrebko and the other protagonists, the live recording may be a nice memory, and for arg beleaguered record industry it may be a blockbuster of importance. But who else?