Expectations were high watching this Opera Australia production, because La Traviata is one of my all-time favourites and their recent DVD productions of Rigoletto, Lakme and Don Giovanni were highly impressive. Some might find that the production doesn't work for them and understandably- reading about it or looking at photos you'd think this could be overblown quite easily-, however it did work for me(a preferred traditionalist). Is it the best Traviata? No, Zeffirelli's film and the Anna Moffo production get that honour. The worst? No, the Dessay Met and Patrizia Ciofi productions underwhelmed me hugely.
This Traviata does stand out from the rest visually. It is very unique in look and has a sweeping spectacle but done in a way that it looks good, it is tasteful and the essence of the story doesn't get lost. The sets are opulent with a stunning chandelier and clear pristine lighting, while the staging touches are somewhat modern the actual look of the production is basically traditional. The costumes are full of colour and reminded me of those of the film La Dolce Vita(Opera Australia's Rigoletto also seemed to have a Federico Fellini influence), especially Violetta's clothing at Flora's party. The staging is clever and show a stage director(in this case Francesca Zambello) with ambition and scope while not taking away from the story. There is plenty of details and lots going on, nothing is bare or stark, though some may argue that it's too much. The deathbed visuals, Violetta in the air for Sempre Libera and the fireworks in Act 1 were dazzling, while the choreography, graceful for the waltzes and witty for the gypsies and matadors, was similarly impressive. Only the large microphones didn't work, they were distracting and looked ridiculous.
Musically, there is very little to complain about either. Verdi's score is full of memorable moments and incredibly emotional to listen to. The orchestra convey that beautifully with shimmering pianissimos, intensely haunting violins in the opening of the prelude, vigorous woodwind in Sempre Libera and the Act 1 party scene, melting liquid phrasing and smooth legato. The poetry and emotional power of the score is all there. The chorus are enthusiastic and very into their music, and the sound they make is enough to positively rouse you after a hard day. The Brindisi and Matadors choruses were particularly good. Brian Castles-Onion's conducting is sympathetic to the singers, very controlled and musicianly. The sound blends the instruments and voices beautifully, it is really some of the best of any DVD performance I've seen in a while. The camera work doesn't intrude too much and doesn't try to do too much.
The performances were very good generally. For me the only exception was the Baron Douphol, he had a rather dry-sounding voice, was too foppish(I didn't find him very funny or entertaining to watch really) and his diction was unclear and unidiomatic. Sarah Sweeting's Annina though is appropriately tender, and John Bolton Wood's Dr Grenvil is wonderfully compassionate. Margaret Plummer is a sheer delight as Flora and Martin Buckingham makes Gastone memorable in a way few in the role do. Jonathan Summers is past prime but still makes for a more than ideal Germont, giving a performance of dignity, steely sternness and genuine sympathy. Maybe there is a little bit of wear in his voice, but the voice is also expressive and generously sized. Di Provenza is lovely. Gianluca Terranova's Alfredo may seem a bit feckless and stolid from a dramatic point of view, but his handsome looks, personal charm and magnificent voice(large but lyrical) make for a good performance still. Best of all is Emma Matthews, who like with her Gilda and Lakme is just wonderful, no lets make that a triumph. She is an affecting actress, and her voice comprises of easy-sounding runs and embellishments(when they aren't easy at all), high notes that are right on point and a good deal of expression.
Overall, a unique production but that works actually in its favour. 9/10 Bethany Cox
This Traviata does stand out from the rest visually. It is very unique in look and has a sweeping spectacle but done in a way that it looks good, it is tasteful and the essence of the story doesn't get lost. The sets are opulent with a stunning chandelier and clear pristine lighting, while the staging touches are somewhat modern the actual look of the production is basically traditional. The costumes are full of colour and reminded me of those of the film La Dolce Vita(Opera Australia's Rigoletto also seemed to have a Federico Fellini influence), especially Violetta's clothing at Flora's party. The staging is clever and show a stage director(in this case Francesca Zambello) with ambition and scope while not taking away from the story. There is plenty of details and lots going on, nothing is bare or stark, though some may argue that it's too much. The deathbed visuals, Violetta in the air for Sempre Libera and the fireworks in Act 1 were dazzling, while the choreography, graceful for the waltzes and witty for the gypsies and matadors, was similarly impressive. Only the large microphones didn't work, they were distracting and looked ridiculous.
Musically, there is very little to complain about either. Verdi's score is full of memorable moments and incredibly emotional to listen to. The orchestra convey that beautifully with shimmering pianissimos, intensely haunting violins in the opening of the prelude, vigorous woodwind in Sempre Libera and the Act 1 party scene, melting liquid phrasing and smooth legato. The poetry and emotional power of the score is all there. The chorus are enthusiastic and very into their music, and the sound they make is enough to positively rouse you after a hard day. The Brindisi and Matadors choruses were particularly good. Brian Castles-Onion's conducting is sympathetic to the singers, very controlled and musicianly. The sound blends the instruments and voices beautifully, it is really some of the best of any DVD performance I've seen in a while. The camera work doesn't intrude too much and doesn't try to do too much.
The performances were very good generally. For me the only exception was the Baron Douphol, he had a rather dry-sounding voice, was too foppish(I didn't find him very funny or entertaining to watch really) and his diction was unclear and unidiomatic. Sarah Sweeting's Annina though is appropriately tender, and John Bolton Wood's Dr Grenvil is wonderfully compassionate. Margaret Plummer is a sheer delight as Flora and Martin Buckingham makes Gastone memorable in a way few in the role do. Jonathan Summers is past prime but still makes for a more than ideal Germont, giving a performance of dignity, steely sternness and genuine sympathy. Maybe there is a little bit of wear in his voice, but the voice is also expressive and generously sized. Di Provenza is lovely. Gianluca Terranova's Alfredo may seem a bit feckless and stolid from a dramatic point of view, but his handsome looks, personal charm and magnificent voice(large but lyrical) make for a good performance still. Best of all is Emma Matthews, who like with her Gilda and Lakme is just wonderful, no lets make that a triumph. She is an affecting actress, and her voice comprises of easy-sounding runs and embellishments(when they aren't easy at all), high notes that are right on point and a good deal of expression.
Overall, a unique production but that works actually in its favour. 9/10 Bethany Cox
