'La Traviata' is one of the world's most performed operas, and yet, this evening was the first time for me, despite it being one of my dad's favourites! Written by Italian opera-maestro Guiseppe Verdi in 1853, it is based on Alexandre Dumas's play, 'La Dame Aux Camelias'.
'La Traviata' (or in English, 'The Fallen Woman'), tells the story of Violetta, a courtesan who throws lavish parties at her 'salon' in Paris. However, she is dying of tubercolosis (well, this is Grand Opera!) and yet despite that embarks on a love affair with eligible and wealthy bachelor Alfredo Germont. There is a brief respite and happiness blooms, but of course, it does not end well.
This production utlised a set design of a large semi-circular Roman colonade with statuettes, resembling far more an Anciernt Roman ampitheatre than a 19th century Paris salon, and this set remained constant throughout the three acts, with just a nominal change to the central picture, hidden between the two central pillars. It was opulent but ill-fitting. The costumes, on the other hand were glorious, and as one would expect from an Ellen Kent production, were in keeping with the composers' original ideas. Despite both librettist and composer wanting to set the opera in the correct time period, it was not done so until the late 1800s, due to the opera theatre directors wanting to set the show in the past. The sound levels were nicely placed this afternoon, and the lighting was simple but effective.
Sadly though, the opera itself fell somewhat flat. The perfomances were lacklustre and pedestrian, and there was no energy on stage. Soprano Alyona Kistenyova played Violetta, whose many high notes were rather screechy, whilst Georgei Meladze was a rather dispassionate Alfredo. The energy and dynamic changed in the second act with the entrance of Iurie Gisca as Alfredo's father, Giorgio. The acting was believable, and his voice was mellow and secure. The other smaller roles were all taken by members of The Ukrainian Opera And Ballet Theatre, and the cumulative sound from them and the ensemble was indeed wonderful. I especially enioyed the bass of Valeriu Cojocaru as The Doctor.
The opera was sung in Italian, and surtitles were provided for above the stage by Victoria Bazalinchuk. With many grammatical and spelling errors they were hilarious, but sadly, for all the wrong reasons.
I am normally a huge fan and advocate of Ellen Kent's productions, but most sadly this was not one I can heartily recommend. It was lacking energy, spontaneity, and despite the large Ukrainian contingent in the audience, many of us were getting restless.
Reviewer - Matthew Dougall
on - 28.1.24
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