A LA TRAVIATA THAT ENTICES AND SPARKLES AS IT SHOULD
VERDI, LA TRAVIATA: Emily Dorn (Violetta Valéry), Nicholas Borg (Baron Douphol), Andrew Haji (Alfredo Germont), Chenye Yuan (Giorgio Germont), Gena van Oosten (Flora Bervoix), Angus Bell (Doctor Grenvil), Irina Medvedeva (Annina), Willy Miles-Grenzberg (Marchese d’Obign), Daevyd Pepper (Gastone de Letorières), Vancouver Opera Orchestra and Chorus, Yves Abel (conductor), Leslie Dala (chorus director), Alain Gauthier (director), Tracey Power (assistant director and choreographer), Christina Poddubiuk (scenic & costume designer), Kevin Lamotte (lighting designer), Queen Elizabeth Theatre, October 17, 2019.
All photos by Tim Matheson
Given the popularity of Verdi’s La Traviata, it is still relatively rare to come across a production that satisfies the average operagoer’s desire for traditional staging while managing to inject vitality and emotional resonance into the piece. Recent interpretations at The Met have failed to steer a safe course between the Scylla of unfettered experimentation and the Charybdis of museum-piece boredom. Vancouver audiences may also remember Sir Jonathan Miller’s 2011 production which, despite its meticulously faithful period trappings, left a rather chilly and anemic impression. What a relief, then, that Vancouver Opera’s latest Traviata managed to crackle with youthful energy without in the least sacrificing the letter or the spirit of Francesco Maria Piave’s libretto or Verdi’s music. Alain Gauthier and Christina Poddubiuk’s Roaring-Twenties-Paris-inspired production, with its mix of chandeliers, scarlet curtains and curving staircase and flapper costumes was breathtaking to behold, while the casting boasted a vivid Violetta and an expressive Alfredo. Add on a refreshingly unbuttoned performance from the Vancouver Opera Chorus, and supportive playing from the Vancouver Opera Orchestra under experienced maestro Yves Abel, and all the right ingredients were there. This was a most encouraging outcome from a collaborative project involving five Canadian opera companies.
The casting of the title role was undoubtedly one of the big strengths. While Erin Wall was too inhibited to be a convincing belle of the ball in the previous VO production, soprano Emily Dorn had the stage presence and acting chops to make Violetta spring to life. Her range of facial expressions, the plasticity of her gestures and the unaffected naturalness of her movement on stage all add up to a born actress. Dorn’s vocal prowess was equal to most of the demands of the role. Her tone was generally beautiful and focused throughout most of her range though, admittedly, it had a tendency to spread and become more uneven above the staff, especially at louder volumes. This did prove to be something of a handicap in the show-stopping Act I aria ‘Sempre libera,’ with its relentless succession of high Cs and D-flats; likewise, her climactic cry of ‘Amami Alfredo’ in Act II Scene 1 may have produced a slightly bloodcurdling effect. Nonetheless, she truly brought her best to the more intimate, lyrical moments of the score, especially Violetta’s deathbed scene in the last act. This scene, which can become tedious in the hands of a lesser dramatic vocalist, was remarkably riveting from beginning to end.
Tenor Andrew Haji delighted local audiences in L’Elisir d’amore two seasons ago, and it is easy to see why Vancouver Opera invited him back: his voice is consistently expressive and beautifully controlled, his high notes have an unforced resonance, and his acting combines versatility and spontaneity. In the role of Alfredo, he ranged from exquisite tenderness (‘Un dì, felice,’ ‘Parigi, o cara’) and youthful ardour (‘De miei bollenti spiriti’) to self-recrimination and rage (‘O mio rimorso,’ ‘Questa donna conoscete’). Haji’s chemistry with Dorn was genuinely palpable, and their duets in the outer acts combined deft pacing with a keen sense of vocal balance.
Perhaps one area where things were not worked out as well was in the relationship between Violetta and Georgio Germont, Alfredo’s father. Despite his generally pleasing baritone voice, Chenye Yuan often lacked the gravitas and vocal amplitude that the latter role demands. His attempts to consciously inject sternness or warmth into his part often resulted in an unsteady vibrato accompanied by awkward, peremptory gestures (at one point, inexplicably, he makes as if to strike his son, Alfredo). Thus, the lengthy Violetta-Germont père duet in Act II Scene 1 came off wanting in cohesion and vocal synergy. Nonetheless, the secondary roles of Flora, Doctor Grenvil and Annina were all capably handled, and indeed Irina Medvedeva’s Annina proved to be a most sympathetic foil to Dorn’s anguished, expiring Violetta at the end.
The Vancouver Opera Chorus outdid themselves in the crowd scenes, not only singing spiritedly but also taking part in the dancing. It was an intriguing decision to have the matadors’ ballet in Act II Scene 2 performed by chorus members rather than by trained dancers. The results were naturally not as polished, but the inspiration was engaging. Rarely have I seen a group of singers enjoy themselves so much on stage! As well, the Vancouver Opera Orchestra gave a vibrant and nuanced account of the score, from the sighing strings of the prelude and the energetic dance band rhythms of the first act to the ominous funeral march figures of the finale. Maestro Abel supported the singers with admirable precision and flexibility and, though his tempi were generally on the brisk side, he allowed for more expansive speeds in the big emotional moments.
The production was beautiful to look at, rich in detail but never cluttered or garish. In fact, the sets were deceptively simple, with the same curving staircase and tall windows dominating each scene, but the variety of backdrops and lighting provided welcome contrast. The stage direction was purposeful and unfussy yet allowed for sufficient movement to maintain interest. The pacing of both crowd scenes (Act I and Act II Scene 2) was swift and effective and the third act had clear emotional force, thanks largely to the magnetic performances of the two leads. Perhaps only in Act II Scene 1 did interest flag somewhat. Overall, this production yielded a fully refreshing Traviata and a particularly auspicious start to a season of well-established opera classics.
© Nicolas Krusek 2019