State Opera of South Australia. Festival Theatre. 3 May 2014
This La Traviata is visually stunning. Christina Smith’s set and costume design is inextricably and perfectly coupled with Matt Scott’s lighting and together they are a triumph and a feast for the eyes
La Traviata is based on the Alexandre Dumas’ novel La Dame aux Camélias (The Lady of the Camellias) and tells the story of a consumptive society courtesan who wears a white camellia to signal that her illness precludes her availability – otherwise she wears a red one. She eventually finds true love from a man who can see past her profession but she is pressed by her lover’s father to abandon the relationship in order to protect his family’s good name. The story has been borrowed and adapted a number of times, including in Baz Luhrmann’s musical-film Moulin Rouge! and in Boublil and Schönberg’s musical Marguerite.
The principal design concept includes a small cut away room comprising two semi-mirrored walls and ceiling set on the expanse that is the main stage of the Festival Theatre. The room is lit in a range of evocative ways and oozes both sanctuary and spirituality. It is where Violetta, the courtesan, entertains and escapes from day-to-day cares. It is where she ponders the meaning of her life, and it is where she eventually dies when her illness finally runs its inevitable course. The entire stage is framed by gigantic curved upstage curtains, and one of them comprised images of camellia blooms that gradually faded from a sensual red to an ethereal silvery white to mark Violetta’s deteriorating fortunes. The Dumas imagery is preserved.
Russian soprano Elvira Fatykhova is a recognised Violetta expert, having played the role in opera houses around the world. She has a beautiful coloratura voice and her diction is as sharp and crystal clear as the nine chandeliers that ornamented the stage. She looked stately and seductive, and always vulnerable. Aldo Di Toro sang well the role of Alfredo, Violetta’s lover, but wasn’t entirely successful in raising the temperature of the chemistry of their relationship to the levels it needed. As Violetta’s life slipped away in the closing stages of the final act, Fatykhova’s duet with Di Toro (Gran Dio!..morir sì giovane) was ever so touching. Director Kate Cherry had her stoic to the end as Violetta comforted Alfredo in her arms rather than the other way around.
A highlight of the evening was Mario Bellanova’s excellent interpretation of Giorgio Germont, Alfredo’s father. His commanding baritone voice was strong, warm and pure of tone. His duet with Fatykhova in Act 2 (Dite alla giovine sì bella e pura) was a highlight of the production.
Conductor Nicholas Carter expertly drew out the achingly beautiful melodies from the Adelaide Symphony Orchestra, which sounded as good as it ever has in an opera. The audience was understandably delighted. Cherry had the occasional soloist with their back to the audience, and hence to the conductor, and this caused Carter a minor problem but it did give a more natural ‘feel’ to some of the more tender moments.
La Traviata has many well-known arias and is understandably one of the most frequently performed operas around the world. Chorus Master Timothy Sexton (as well as being SOSA’s CEO and Artistic Director) was outstandingly successful with the vocally talented SOSA Chorus. There were perhaps too many of them on stage at times, which thwarted the jollity and atmosphere of some of the party scenes. The minor principals all provided solid support for the leads, and of particular note were Deborah Caddy as Flora Bervoix and Robert England as Marchese d’Obigny who both gave fine acting performances as well as being in fine voice
This production is a collaboration of SOSA, Opera Q (Brisbane) and New Zealand Opera, and it is a winner – world class.
Kym Clayton
When: 3 to 10 May
Where: Festival Theatre
Bookings: bass.net.au
