Opera North opened its autumn season with this fine revival of Alessandro Talevi’s 2014 production, strongly cast and with an appropriate emphasis on musical and dramatic values. There is nothing here to frighten the horses - set in period with matching dress - but while avoiding high concepts, Talevi does manage a few imaginative touches that stop it from being a museum piece.
La Traviata moves quickly: within minutes of the overture ending, we’ve been introduced to two of the three principals, the lovers Violetta and Alfredo, and established the basics of the plot (high-powered courtesan redeemed by the love of an idealistic young man). How their relationship is frustrated by the intercession of the hero’s father, keen to preserve the family’s good name, is the kernel of the story and conductor Jonathan Webb doesn’t dawdle in telling it with a sensitively phrased but expertly paced Act One in which the Opera North chorus contributes a splendid Brindisi.
The two principal roles are filled by Alison Langer as Violetta and Nico Darmanin as Alfredo. Although they may have lacked the last degree of chemistry to make their passion wholly convincing, there could be no doubt that they had the voices and the personalities to do the characters’ justice. Langer is particularly successful at conveying the premature world-weariness of the successful harlot and Darmanin, with a voice every bit as youthful as his appearance, catches the gaucherie of her young suitor.
The third principal character is Alfredo’s father, Giorgio Germont, sung by Damiano Solerno. The most complex of the three, the elder Germont is a man saddled with the narrow morality of the time and views his role as proctor of the family honour by ending Violetta and Alfredo’s relationship. That he belatedly sees the light and endorses the relationship as Violetta is about to expire brings small comfort, and Salerno was greeted by ironical boos at the curtain-call. But he sang the role - one of the most gratefully-written in the Verdian cannon - with ideal assurance and tone.
Designer Madeleine Boyd, working within a basic black box set, manages to convey the fragile world of depraved high society with judicious use of platforms and appropriate costumes, even if the simulated orgy of Act One seems a little on the tepid side. These are replaced with a blue sky cyclorama for the Second Act when Alfredo and Violetta briefly achieve harmony. As in all the best touring opera, simplicity is key. This is an excellent revival of an effective production.
Reviewer - Paul Ashcroft
on - 8.11.22
on - 8.11.22
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