Verdi’s classic tragedy of the ‘fallen woman’, LA TRAVIATA, is enjoying a revival in Sydney via the lush realism of director Elijah Moshinsky’s 1994 version. The motifs of fragility, sacrifice and disintegration emerge from the striking detail of the salon scenes and effectively contrasted desolate locations.
Michael Yeargan’s four highly contrasted sets remain design achievements which are a treat for newcomers and former fans alike. The costuming created by Peter J Hall for both formal party scenes and domestic life complement each striking backdrop.
In the story’s opening party hosted by courtesan Violetta Valéry, we see her return to the social scene after a break to receive treatment for tuberculosis. A shock profession of love from Alfredo Germont, challenges and confuses Violetta.
This flirtatious scene glorifying excess is also steeped with very familiar musical gems of the operatic canon. This and the later party scenes are commendably negotiated by the talented ensemble, which brings each busy scene to life despite the limited floor area.
Conductor Renato Palumbo guides the orchestra delicately through Verdi’s score. The penetrating almost silent scream on high divided strings to open the opera glistens under his direction. Tempo choices are unhurried, celebrating each note of the music, allowing time and space to emphatically deliver key accentuation.
Lorina Gore’s debut as Violetta is a candid and believable characterisation. It delivers knife-edge shifts between her various identities and limitations. Gore maintains the beloved shape within the ‘Brindisi’ drinking song. The defiant ‘Sempre libera’ she delivers by meshing a champagne guzzling rampage about the stage space with the popular aria’s contour.
In the outdoor setting of Act Two, Violetta must be more resigned. Her prolonged conversation with her lover’s father demonstrates Gore’s broad acting range and diverse vocal palette. Once again her physical carriage and pace of movement is well linked to the atmosphere and her character’s current development.
Gore commands the stage and ensemble in the Act Three death scene, as is required. Her vulnerability varied with outbursts of delirium are outlined beautifully in her reactions to Verdi’s music. The ‘Addio del passato’ is touching, exciting and delicate all at once, seeming to already speak from another place.
Rame Lahaj cuts a dashing figure as Alfredo Germont, with a pleasing and penetrating vocal warmth. He is an advertisement for noble love and enters in fine contrast to the male ensemble of usual party suspects. His ‘Brindisi’ drinking song has much natural character and lilt.
Rahaj’s rich vocal tone and general demeanour during the famous duet ‘Un dì, felice, eterea’ and in all the Act One dialogue help raise the hopes for the star crossed lovers to blend their different worlds. Unfortunately there is evidence in ensuing passages of brief breaks in portraying his character. He appears to move out of pose to check for the conductor and then return his gaze to the scene. Hopefully this is short-lived in the season.
The production’s most rewarding operatic presence is José Carbó’s Georgio Germont. His Act Two work with Lorina Gore is consistent and genuine. His perfectly suited vocal delivery also communicates cool severity when directing Violetta to leave Alfredo. The later final hour entry to support a dying Violetta becomes imbued with energy and tenderness through a concise movement and changed vocal tone.
This gorgeous production with its period-replica appearance and activity still delights. The energetic portrayals by upcoming talents do indicate however a potential to shine in a new interpretation of this classic. Within any fashionable and cutting edge party crowd, modern artistic and theatrical boundaries must be in want of eventual extension.
LA TRAVIATA plays at the Dame Joan Sutherland theatre, Sydney Opera House until July 22.
For more about La Traviata @ The Dame Joan, visit http://opera.org.au