By John Shulson
Verdi’s “La Traviata” ranks among the top 10 most done and seen operas in the repertoire. Based on “The Lady of the Camellias” by Alexandre Dumas, “Traviata” is the typical tale of the power and pain of love. Violetta is the high society courtesan who enjoys attention but fears giving up freedom, ultimately having it both ways, but not without emotional and physical turmoil and, of course, a last minute surge of hope before death.
“Traviata” is a lyrical delight. If Virginia Opera hoped to end its 40th anniversary season on a high note, it did so with its Carpenter Center production in Richmond.
Far more satisfying than the company’s previous endeavor, “Salome,” which was a vocally fine but very uneven updated production, this Lillian Groag-produced “Traviata” was total and compelling. It was opera at its very best, as only Groag can produce.
Shes an extraordinary director whose work with international opera companies is acclaimed. With a background on stage as an exceptional actress, Groag understands the ingredients that go into successful staging.
Robert Littles stylistic set design was superb, offering just the right amount of accent to set the stage for each act; his design was imaginative and a perfect example of less is more. With elegant costuming and Bradley Kings sensitive lighting, this production, co-mounted with the Des Moines Metro Opera, was one of the Virginia Operas absolute best.
Cecilia Lopez and Rolando Sanz as the ill fated lovers Violetta and Alfredo, respectively, was magical. They created a remarkably real sense of two lovers caught up in a mixing bowl of emotions. That they acted with astute awareness is one thing, that they individually sang with such polish and style quite another.
Similarly did Malcolm MacKenzie, as Alfredo’s father, Giorgio, wow the audience with his incredibly rich and forceful baritone. Singing excellence extended beyond the three principals to the entire cast which delivered the vocal goods in solid and highly satisfying style. This was first-class singing throughout.
Andrew Bisantz led members of the Richmond Symphony in high style. Bisantz, the orchestra, and the singers delivered a stellar performance.
While the staging was essentially traditional, it did rely a bit on computer graphic images to enhance the visual impact, the most notable application coming during the orchestral prelude to Act I which saw the projection of a quite large white camellia as it began to lose its petals. This motif surfaced again at the end in Violettas bed chamber where she lies dying. So intense were the musical and dramatic emotions that the image of the petals falling seemed to symbolize teardrops, many of which were mirrored in the audience.