Ellen Kent along with the Ukrainian Opera and Ballet Theatre kick off their British and Irish tour at the Manchester Opera House this week, starting with Giuseppe Verdi’s tragedy, La Traviata. One of Verdi’s most popular works, La Traviata is an adaptation of Dumas fils’ novel The Lady Of The Camillias, and is quite possibly the maestro’s most personal work, mirroring his and Dumas’ personal relationships.
Manchester Opera House was buzzing with an anticipation from the young to the old, some first time opera goers, others, stalwarts to the opera and to Kent who would not miss a show like this for the world. The Opera’s return to Manchester got bums on seats as the auditorium appeared packed, and by the end of the performance, it was said that Madama Butterfly was completely sold out.
Featuring Alyona Kistenyova as Violetta, the protagonist along with Giorgi Meleadze as her love interest, Alfredo Germont; La Traviata is as dramatic as they come with a tumultuous romance. Supported by a cream of the crop cast, Eugeniu Canea in a cast change as the Barone Douphol, Violetta’s other lover and rival to Alfredo, as well as Vitalii Cebotari in a wonderful and subtly villainous performance as Alfredo’s father, Giorgio, who wants Violetta to leave his son. Set during the “present day” of 1850s Paris, the audience were treated to a sublime smorgasbord of antique furniture and props, as well as luxurious and vibrant evening gowns and Marcella waistcoats with tails. Torn between her own feelings and those of Alfredo’s and his father’s, Violetta has a difficult decision to make in doing what is best, all the while battling her own illness. Verdi’s delightful score ties the peaks and troughs of the plot together superbly, and the famous “Brindisi” duet and chorus from Act I not only highlights Verdi’s skill, but also was very good at setting the tone for the scene. If there is one thing to take away from a Verdi score, is that, as if at a snap of the finger, can change the tone as dramatically as the story.
Under the baton and careful direction by the current artistic director and chief conductor of the Ukrainian Opera and Ballet Theatre, Vasily Vasylenko, the orchestra pit and singers came together beautifully and with a simple flick of the baton or gesticulation with a fist or opened hand, the music would swell or the singers would fill the Opera House with their mighty voices, and with the same hands which delicately wave in the air, Vasylenko has a good firm grip on every single musician and singer. His performance is worthy of its own show and review.
The director, Ellen Kent, admitted that this performance was almost cancelled due to the vast tangles of bureaucratic red tape and hurdles to jump in taking the Ukrainian Opera out the Ukraine, as such numbers of the company had only arrived in the United Kingdom at six o’ clock in the morning of this performance. This fatigue was noticeable unfortunately, but swiftly overcome by the beginning of Act II and by the second scene in Act II, the stage was full of energy and the engine that is the Ukrainian Opera and Ballet Theatre was purring smoothly. Additionally it must be said that Meladze with all his technical capabilities and good looks appeared somewhat awkward and stiff in the first act, but by the end of the show whatever nerves or apprehension there may have been, had dissipated, and his chemistry with Kistenyova’s Violetta blossomed and bloomed as the show went on, culminating in a tragically beautiful finale. The wonderful performance of the “Matador Chorus” by the supporting cast (with a special mention going out to Nicolae Cebanu as Gastone, who seemed to steal the show in his scenes) appeared to secure the night and put the show back on track and stomp its foot down, telling Manchester ‘we’re here!’ and the issues surrounding the curtain not closing properly was shrugged off by the cast, and chuckled off by the audience.
As always, the Opera House has a wonderful character and charm which one cannot put their finger on, but which has always made the Opera House the favourite out of it and the Palace Theatre. The late Edwardian decorations in their dark green and gold accents make Manchester Opera House the perfect setting for these traditional productions put on by Kent. The mise-en-scene of the opera blend well with the surrounds of the auditorium to make for a truly unforgettable experience.
Thus concluding a successful (if a little shaky to begin with) first night with multiple curtain calls, a standing ovation along with flowers for the leading lady, as well as the usual triumphant rendition of the Ukrainian National Anthem. La Traviata made for a memorable night, but the best is yet to come as Ellen Kent has Bizet’s Carmen and firm favourite of Kent’s, and arguably Puccini’s best known work, Madama Butterfly lined up for the following two nights.
Reviewer – Daryl Griffin
on – 10-1-24
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