By B. J. Atkinson – The Virginian-Pilot
When an opera production’s a hit, especially one in which the plot hinges on antiquated mores, there’s more going on than pretty music.
The director must bring the tale into the 21st century, involve us and make us care. Lillian Groag, in her 21st production with the Virginia Opera, imbues “La Traviata” with brilliant details and raw emotions that cross the footlights and span the years. The production, which opened Friday at Norfolk’s Harrison Opera House, is a glittering, must-see finale to the company’s 40th anniversary season.
Groag links Act I to Act II without intermission, cleverly using the space in front of the scrim to continue the drama while the set is changed. Another fantastic Groag touch: Four specters dressed in white drift in and out of the scenes, foreshadowing Violetta’s death.
This production is as much hers as anyone on the stage, behind it or in the pit.
In her Virginia Opera debut, Cecilia Violetta Lopez owns the role of Violetta as few young sopranos can, an especially remarkable feat considering this is only her second go as the doomed courtesan.
In an already polished performance, Lopez’s every glance and gesture depict defiance, sexuality and an underlying vulnerability. With sublime vocal control, she executes astonishing dynamics and range. Not just an instrument of great clarity and beauty, Lopez’s singing is nuanced with character far beyond the score, with spoken words, careful portamento and emphasized consonants. The signature first-act aria “Sempre libera” displays scintillating coloratura; her arias in the final act are laden with pain and pathos.
As Violetta’s lover Alfredo, tenor Rolando Sanz nails the personality of the smitten bon vivant. He sings with a natural, compelling tone that is beautiful in his arias and duets.
Malcolm MacKenzie as Alfredo’s father, Giorgio, makes the most of this pivotal character. In his Act II meeting with Violetta, he effectively pulls out every persuasive trick to break her strong spirit, then turns his selfish coercion on his son. MacKenzie’s warm yet edgy baritone and stern stature sell this unlikely scene.
Each vocal pairing is magnificent; especially beautiful is the lovers’ final duet, as Alfredo holds Violetta in their tender farewell lullaby.
Secondary leads are notable as well, especially baritone Andre Chiang, who cuts an aristocratic figure as Baron Duphol and sings with a bright, copper tone; Courtney Miller as Violetta’s friend Flora, Matthew Scollin as the Marquis d’Obigny, and Keith Brown as Dr. Grenvil.
And bravi, tutti, to the chorus. The men and women sing magnificently and have genuine bacchanalian fun in the party scenes.
Costumes are sumptuous, and lighting by Bradley King is effective; each scene is sensitively and beautifully lit.
Conductor Andrew Bisantz, leading the Richmond Symphony in his Virginia Opera debut, elicits an exquisite performance from his musicians with meticulous attacks, bravura playing and breathtaking dynamics.