La traviata

Russian Soprano Elvira Fatykhova conquers Melbourne in her debut as Violetta in the eternal classic La Traviata.

The inclusion of La Traviata in any opera season can be seen cynically as a fundraising exercise, given its if-you-stage-it-they-will-come status as one of the world's most loved operas. Thankfully, this season is a carefully restored, meticulously directed staging of a superb production with a cast whose acting talents match their vocal quality.

Elijah Moshinsky’s time-honoured production of La traviata portrays on stage a world as close as possible in dimension to real life. Michael Yeargan’s gorgeous designs feature crowded rooms close to the size of Paris salons of the period. Costumes, by Peter J. Hall are exquisite but not overstated.  The result is that the human drama of the story is effectively heightened. Indeed, Melbourne would seem fortunate to have this relatively intimate production rather than the possibly overblown affair advertised on the back of the cast sheet.

One casualty of the cramped space is in the Gypsy and Matador sections of act two, scene two. These sections are a riot of colour but very little dance or movement or even storytelling are seen.

Conductor Marko Letonia brings a fresh appeal to the well known music. Plaintive longing is clearly discernible in the strings during the overture. The music that suggests dancing offstage in act one is particularly brisk and festive.  A capella passages by each of the three leads are beautifully handled, with Letonia keeping orchestral support surrounding these in perfect control.

The Opera Australia Chorus, under Acting Chorus Master Anthony Hunt, produce a remarkable quality of tone. The highlight is the splendid variety of dynamics they achieve, which adds wonderful colour to the choral singing.

Elvira Fatykhova, as the complex, doomed heroine Violetta Valery, gives a nuanced, spellbinding performance. Her singing is divine, particularly the incredible control and power of her pianissimo. You could have heard a pin drop in the State Theatre during the final notes of “E Strano”. Her vocal strength while lying prostrate on the floor at the end of act three’s “Addio del Passato” brought roars of appreciation from the capacity crowd. To so thoroughly impress audiences so accustomed to this music is a significant achievement.

Aldo Di Toro, while not quite as dashing an Alfredo as might be hoped for, is a solid partner for Fatykhova, the chemistry of their tragic romance quite palpable. Di Toro impresses in “O Mio Rimorso”, and his strong tenor voice rings out clearly over the entire company in the act two finale.

Australia’s Verdi expert Michael Lewis is a commanding presence as Alfredo’s stern father Giorgio Germont. A master at underplaying even the strongest emotion, thus avoiding any hint of the pitfalls of melodrama or histrionics, Lewis plays act two as a gripping psychological drama as Germont Sr manipulates Violetta and his son whilst wearing a mask of kindness. His eventual devastation on Violetta’s deathbed is all the more gripping for this.

The depth of Opera Australia’s casting pool is seen through the quality of the supporting players, each given only a line or two to sing in this opera. Richard Anderson’s powerful, expressive bass booms out as Doctor Grenvil. Dominica Matthews makes Flora a believable friend to Violetta. Teresa La Rocca gives sterling support as the maid Annina.

The divine music and uncluttered story make La Traviata the ideal opera for newcomers. Longtime fans who think they may have seen it one too many times are advised not to miss the stunning performance of Fatykhova in this lovingly staged season.

Photos: Jeff Busby