State Opera South Australia. Her Majesty’s Theatre. 27 Aug 2022
This is perhaps one of the best productions of La Traviata this reviewer has seen. It is fundamentally different to many others in one key element: the attention is thrown squarely on Violetta, on how she sees others around her, and how she responds to events. Often, productions of Verdi’s masterpiece focus as much on the perspective of the other characters in the opera – including the prevailing social mores of the day – as they do on ‘la traviata’ (translated as the ‘fallen woman’).
It is almost trite to say that the telling of an event depends on who is doing the telling, and in this joint production between State Opera South Australia, Opera Queensland and West Australian Opera, director Sarah Giles looks for every opportunity to hear from Violetta. Unsurprisingly, Giles relegates any hint of judgement about Violetta’s life style to the sidelines and there is recognition that for Violetta to do what she does requires instigation, and the willing participation, by men. This is underlined by an oh-so-funny scene in which men ludicrously run around in various states of undress in pursuit of satisfying their lust. But it’s not just funny – it’s also a not-so-veiled comment about how men control women and exercise double standards. In her Director’s Note, Giles aptly points to a contemporary example: Roe v Wade.
La Traviata is the story of Violetta Valéry – a high class courtesan – who falls deeply in love with Alfredo Germont but is encouraged by his father Giorgio to break up with him so that the ‘taint’ of her profession will not ruin the chances of Alfredo’s brother at a successful marriage. Violetta reluctantly agrees and reasons that she needs to really hurt Alfredo to achieve a separation. She also knows she is dying of tuberculosis, and in some ways this makes it easier for her to sacrifice herself for the benefit of Alfredo and his family.
Giles’ unapologetic focus on Violetta produces some atypical interpretations of at least two of the principal roles. We often see Giorgio Germont played with much more indignant self-righteousness, at least initially while he is laying out his case to Violetta. In this production Giles has baritone James Roser play Giorgio much more gently throughout. This has the effect of highlighting Violetta’s struggle with the proposition that is being laid before her, and Giles has soprano Lauren Fagan visibly fighting her inner demons and rebelling at the situation, before finding grace and surrendering herself and her own happiness to Giorgio. It was a telling moment in the production, and both Fagan and Roser sang the scene with bitter tenderness.
Giles has tenor Kang Wang play Alfredo with less earnestness than we might otherwise be accustomed to. Wang beautifully plays (and sings) the besotted young lover, but it is not syrupy and overemotional. This (presumably) deliberate portrayal again allows the audience to focus on Violetta and interpret her love for Alfredo as something of virtue, and not to be confused with the ‘affections’ she shows her customers.
Kang Wang and Lauren Fagan both give excellent performances – they both sing very well, and their stage-craft is unstilted and natural. At risk of body-shaming other principals in other productions, they are both attractive and ‘fit’ and the passion they imbue their characters with is all the more believable for it.
In the minor principal roles, Pelham Andrews gives an entirely believable performance as the philanderer Baron Douphol. Jeremy Tatchell’s Marquis d’Obigny and Mark Oates’ Gastone are also well realised, with appropriate measures of dignity and humour. The cast is rounded out with credible performances by Conal Coad (as Doctor Grenvil), Cherie Boogaart (Flora), Teresa LaRocca (Annina), and Jiacheng Ding (Giuseppe). There are no weak links, and the principals give truth to Stanislavski’s oft-quoted maxim that “There are no small parts, only small actors”.
But there is much more to a successful operatic production than a strong principal cast. Sarah Giles direction breathes new life into what is a frequently performed opera. Charles Davis’ set and costume designs are outstanding, with the set seamlessly transforming in front of our very eyes from a three room mansion to an expansive country house. The transitions are realised by members of the chorus and it is poetry in motion. The costumes are lavish, and not representative of any particular period, which assists in underlining the timelessness of the story. Paul Jackson’s lighting design is empathetic to the overall intention of focussing on Violetta. The Adelaide Symphony Orchestra is ably led by Oliver von Dohnányi: the pacing and dynamical balance are en pointe and never compromise the vocal output. Anthony Hunt’s chorus is very well prepared, and the expertly choreographed crowd scenes (and dance scenes and scene changes) are visually and aurally exciting, with precise cueing with the orchestra. With great attention to detail in the tableaus, we again have poetry in motion as well as in pictures. Intimacy Coordinator Ruth Fallon’s careful work ensures that the tenderest scenes are affecting and not contrived, and the bawdy crowd scenes make the point but are not offensive.
Giles has included some very evocative and affecting directorial touches. When Giorgio is explaining to Violetta that he fears his other son’s marriage will be imperilled by her relationship with Alfredo, we see upstage two softly lit members of the ensemble acting out a simple and stylised representation of the marriage about to founder at the altar. The way it is choreographed serves as a blunt reminder of the double standards mentioned above. It is beautifully done. This same dramatic device – seeing apparitions to underline the emotional arc of the story – is used again at a later point in the story with great sincerity. To say more would be a spoiler, but it leaves a lump in one’s throat.
State Opera South Australia’s production of La Traviata is simply outstanding: visually sumptuous, gloriously musical, and an emotional roller coaster. It’s everything opera can and ought to be, and not to be missed.
Kym Clayton
When: 30 Aug, 1 and 3 Sep
Where: Festival Theatre
Bookings: ticketek.com.au
