The opening strains to the overture of Verdi’s La Traviata are wistful, serene and ethereal, before entering a blaze of joy. The curtain rises on the stage of the QPAC Lyric Theatre to reveal the interior of a penthouse apartment, overlooking the city lights, which reeks of elegance and opulence. A young woman in a nightgown lies crumpled on the glittering black tiled floor, while another dressed formerly stands behind a glass screen observing her. The image and the music alike presage the tragedy to come, while introducing us to Verdi’s ode to the power of love.
Based upon the novel La Dame au Camélias (1848) by Alexandre Dumas, fils, subsequently adapted for the stage in 1852, Verdi’s opera version was first performed in 1853. The story theme of the beautiful courtesan who falls in love and is persuaded to give up her life of decadent luxury is nothing like the poverty stricken ‘tart with a heart’ stories, yet when Violetta, the ‘fallen woman’ (which is how La Traviata translates) appears in a stunning red ballgown, the combination of the image with its operatic context cannot help but conjure up memories of Vivian, the character portrayed by Julia Roberts in the movie Pretty Woman.
From her humble origins, Violetta has learned to acquire the grace and refinement of the wealthied class, and the set and costumes (Christina Smith) are just modern enough to remind us that such a life-style is still around when men are prepared to pay for it.
Directed by Kate Cherry, this is a co-production between State Opera of South Australia, Opera Queensland and New Zealand Opera. For the OperaQ season, Maestro Johannes Fritszch takes the QSO into the stratosphere, the sound is absolutely gorgeous, sumptuous, mellow and lyrical.
The singing from this all-Australian cast is likewise richly satisfying. In the title role, Emma Pearson embodies the elegance and the gentle nature of Violetta, and her willingness to sacrifice herself for her one true love. Aldo Di Toro (Alfredo Germont) in the opening scenes comes across as a nice, rather shy chap, making his spoilt brat behaviour when he believes Violetta has betrayed him quite shocking. In the role of his father (Giorgio Germont) Jonathan Summers is a gentle, reluctant destroyer of the lovers’ idyll in the country, and his intervention when his son abuses Violetta horribly in public is powerful and deeply moving.
While the set, with its decadent amount of crystal chandaliers and thread of gold backdrop for the penthouse scenes, is luscious to look at, it does limit the range of movement for the large chorus on the Lyric Theatre stage. They are forced to line up across the width of the stage facing out to the audience, with very little sense that they are individuals with their own attitudes and responses to the action of the central characters. There is also the challenge of the long walk across the empty space from the central ‘apartment’ into the wings, when characters have concluded their involvement in the scene. However, when those same characters turn and address the audience directly as part of their reflections, during some of the most beautiful arias ever sung, the effect is electrifying.
This is an engaging interpretation, bringing the classic tale of love redeemed up to date while retaining the nineteenth century sensibility that brought it to creative life.
Rating: 4 out of 5 stars
La Traviata
OperaQ
Conductor: Johannes Fritzsch
Director: Kate Cherry
Choreographer: Rosetta Cook
Set and Costume Designer: Christina Smith
Lighting Designer: Matthew Scott
Opera Queensland Chorus Queensland Symphony Orchestra
QPAC Lyric Theatre
9, 14 & 16 May 2015
