La traviata

Hear that sound? It's me, sighing with relief. Lately I've been telling anyone who'd listen how wonderful I was certain Aldo di Toro would be as Alfredo in Opera Australia's La traviata. His first perfomance was last night — I was there, and am delighted and, as I say, very relieved to report that I stand by every word of my hype. He was glorious, more so than even I was prepared for. His voice is gorgeous, sort of golden and bright, rising to the climaxes with unforced passion, melting and sweet in lyrical passages. He sings with with equal attention to the musical line and to the text, so expressively and thoughtfully that he even succeeded in making the seriously overexposed "Libiamo" sound fresh and spontaneous. From the moment of his first entrance, every gesture, every action, every glance and every word spoke of sincere adoration and real devotion, of a good heart and sensitive nature. His Alfredo was an innocent and a romantic, with eyes only for his Violetta; unfailingly sympathetic even as he threw the money at her and tried to scorn her, when it was obvious all her felt for her was love. For me he was centre of this Traviata, not something I've ever felt about an Alfredo before. I can't say enough about him but this will have to suffice for now.

Violetta was Elvira Fatykhova, who sang the role for NZ Opera last year — now I see why the reviews there were so positive. She's really quite exquisite. Having heard her sing the Act I closing scene at the New Year's Gala, I assumed it would be there that her Violetta would shine brightest. But for all the crystalline coloratura, it was really in the second and third acts that she was at her loveliest. "Addio del passato" — which, admittedly, I adore pretty much regardless of the singer — was transcendent and fragile, more impressive in its quiet way than any of the Act I fireworks. In particular the pianissimo high A's... oh my. Two little moments of utter perfection. And yet — I can't believe I'm daring to say this — I couldn't shake the feeling that there was a slight something missing from her performance. She looks, sounds and acts the part wonderfully, but it remains just that: a part, a performance, a piece of fiction. My ultimate impression was of A Soprano Singing Violetta rather than simply a Violetta. However, it happens that this particular soprano sang Violetta gorgeously, so I'm hardly complaining.

In the opera's only other meaty role, Warwick Fyfe was paternal, wooden and a bit of a bore as Giorgio Germont. He sings with impressive power, certainly, and the audience obviously thought he was fantastic. Personally I was exasperated by his stiff stage presence and unvarying vocal expression. I can forgive less than stellar acting for a truly glorious voice, but as he doesn't really have one of those either, I'm afraid I was a bit disappointed. Among the smaller roles, I thought the terrifyingly tall Baron Duphol of Shane Lowrencev was probably most striking. Rosemarie Arthars was as convincing an Annina as it's possible to be in such a thankless role; Dominica Matthews was a spirited but slighly metallic Flora. Traviata gives the chorus plenty of opportunities to be brilliant as well, and brilliant they certainly were. Which brings me to one slight oddity of the night — when it came to curtain call time, only those singers who appeared in the final act took a bow. No sign of the chorus, of Flora, or the Baron or anyone except Violetta, Alfredo, Giorgio, Annina and the doctor. Am I missing something, or is this very strange?

Anyway this is a lovely Traviata, proof that a good old fashioned conventional production isn't necessarily boring or trite. There's not a wisp of anything controversial here, just gorgeous sets and costumes and a straightforward production which allows all the wonderful things about the opera to show themselves off unhindered. Not that I would mind seeing something controversial; but there's nothing wrong with traditional when it's done properly — and in this case it absolutely is.   

Comments

[Tom]

What a lovely summary! I wish the reviews we read in the papers here in the US were even one tenth as vivid or helpful in explaining the writers' opinions.

[sunali]

Nice review - I saw the free outdoor version, and I think it's the best opera I've ever seen - so personal and involving. I saw Kate Ladner's Violetta, and although I see what you mean about bar wench, I thought she was lovely - the part was so heartfelt, Violetta was so real and vulnerable (maybe the closeups of the outdoor show allowed for more of this expression).
Alfredo was absolute gold - wasn't he lovely - the love in that performance was I think what made it so real for me - both of them were so down to earth with such a real love. Absolutely wonderful.

I found that no-chorus-bows thing quite odd too, and I don't know what the rationale was behind it but I can only hope that it is a mercy measure so the chorus members can go home early, rather than a snobby measure where the chorus members are treated like unnecessary extras. It's bothering me more than before though, because I saw Rusalka last night and they did the same thing - I hope this does not reflect some new philosophy about the position of chorus members. But I think in Rusalka there was no chorus for Act 3 - so maybe they did just get to go home early.

Anyway, great reviews - I'll be checking out this website regularly!