BWW Reviews: LA TRAVIATA, a Tragic Love Story Of Pleasure, Passion And Prejudice Is Beautifully Bought to Life by Opera Australia
By: Jade Kops Jul. 04, 2015
Friday 3 July 2015, Joan Sutherland Theatre, Sydney Opera House
The tragic tale of the Courtesan and Nobleman, driven apart by a father concerned for his family's reputation is played out in Giuseppe Verdi's LA TRAVIATA. Elijah Moshinsky (Director) and Tama Matheson (Revival Director) have created an opulent example of what most people often think of when referring to classic, old world Opera, filled with beautiful corseted costumes of extravagant fabrics, celebrations that fill the stage, ornate sets, and a pair of lovers kept apart, all whilst the heroine suffers and incurable disease.
Whilst LA TRAVIATA was originally reset from Verdi's contemporary 19th Century to the 18th Century following critical response to its first staging in 1853, this production has been set in the era Verdi originally wished it to take place, allowing the set and costume designers (Micheal Yeargan and Peter J Hall respectively) to draw on the impressionist paintings of the age to create the opening party in Violetta's Salon, filled with gilded paintings, lavish furnishings, women in velvet, silk, lace and detailed adornments and men in three piece suits, cravats and fob chains. The 3 large sets have a wonderful attention to detail and are each very different ensure that different moods are created and the passing of time understood. The inspiration of the paintings is further carried onto the stage by the use of solid curtains that work like a square aperture, closing on the end of the Acts to briefly partly re-open on the scene, held in stasis.
Under the energetic baton on Conductor Renato Palumbo, The Australian Opera and Ballet Orchestra draws the audience in with the sweet soft, sometimes mournful sound of violins before a faster, light party theme and sweeping waltz takes over. There is lightness yet color and contrast of different tempos in the Prelude that sets the audience up for the rollercoaster of emotions to unfold over the three acts.
As the party celebrating Violetta's (Lorina Gore) return to the hedonistic Parisian society and her 'career' following her recovery from tuberculosis progresses, the characters unfold. The formal Baron Douphol(Pelham Andrews), Violetta's protector or what would now be considered her lover and possibly her pimp, and the younger, brighter Nobleman, Alfredo (Rame Lahaj) and his friend Gastone (John Longmuir), a Count. As the Baron Douphol has declined Violetta's invitation to toast the party, Alfredo is asked to sing a Brindisi drinking song which Gore, Lahaj and the company present with energy and joy. Gore's vocals are sweet and strong in solos but fading on the lower notes of conversational moments of song. Lahaj presents Alfredo's declaration of love for Violetta with a clear gentle pleading and yearning, lifting vocally and physically to his top notes and Gore presents Violetta's response with a blend of energy and excitement but also restraint and compromise.
Alfredo's father, Giorgio (José Carbó) is presented with a single minded love for his daughter and desire to save his family's reputation so she can marry. There is a pleading in Carbó's tone as he urges Violetta to break up with his son, leading into a crisp response as he 'negotiates' with Violetta. He consoles his son following Violetta's departure with a warmth and passion.
As the story unfolds and characters make sacrifices and realize the truth behind the deceptions the music expresses the changes in emotion and energy. The desperation, fear and pain is palpable and the hope is given an undertone of futility. As the lovers reunite, Palumbo's energy does however distract from the scene as he draws Lahaj's gaze from Gore, to whom he is supposed to be expressing Alfredo's love for Violetta, to follow the conductor's dynamic instructions in a visibility not usually seen in Opera Australia productions.
LA TRAVIATA is a moving work with stunning visuals and a moving score. The story is simple to follow and the blend of high energy celebratory scenes and intense emotional moments gives a variance and depth to the story without dwelling too long on a point. This work is engaging for both people wanting to get their first taste of opera and those more familiar with the genre that want to connect with a moving story and enjoy the classic old world charm of the traditional opera where directors and designers have not tried to pare back and simplify sets, costumes and movement but embrace the opportunity to demonstrate the excess of the original works.
Joan Sutherland Theatre, Sydney Opera House,
3 July - 22 July 2015
Comments
Videos