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La Traviata
Presented by:
Melbourne Opera
Venue:
Athenaeum Theatre, Melbourne
Reviewer:
Simon Parris
Date
Reviewed:
Tuesday 24th March, 2009
While it may seem a safe bet to stage
one of the world’s most loved operas, there is always the risk that
it will not live up to the expectations of fans. Fortunately there
is much to admire in Melbourne Opera’s production of La Traviata, a
lovingly staged presentation of the Verdi masterpiece.
Melbourne Opera have grown to be
second only in activity to Opera Australia. This production will
tour to ten venues across three states. The list of benefactors is
astounding, taking up a full A4 page in the program, plus there are
plenty of sponsors. The level of arts management at work here is
clearly first rate and when the result is a night of opera with
basically every lead performer hailing from Melbourne/Victoria, the
work is deserving of great support and attention.
Violetta Valery (Kerry Gill/Amanda
Wang) is a glamorous Parisian courtesan at the height of her
popularity but tragically battling consumption and rapidly losing
her wealth. The dashing Alfredo Germont (Jacob Caine/Roy Best) meets
Violetta and they are soon passionately in love. Giorgio Germont
(Lucas de Jong/Manfred Pohlenz) visits Violetta to plead with her to
leave his son Alfredo for the good of their family name. Outraged to
be deserted, Alfredo publicly shames Violetta and is sorry too late
when she tragically passes away.
With the original Italian lyrics so
well known it is somewhat disconcerting to hear the piece sung in
English, but this does allow a more immediate understanding of the
text and makes the work accessible to a wider audience. The clarity
is helped by splendid diction from the singers, although with the
orchestra at the front of the stalls it is occasionally difficult to
hear the voices. This may have
been better for those seated in the circle and balcony.
Gill possesses an exquisite soprano
voice and she excelled in Violetta’s many cadenzas, particularly in
‘É Strano’ at the end of act one. Looking a little too healthy to be
near-death, she nonetheless acted the role with feeling and dignity.
Caine’s youthful appearance made him
seem a bit young for Alfredo but suited the petulant, ill-tempered
side of the character. He was best heard when singing at the front
of the stage, and it must be noted that he did not sing the high
note at the end of ‘O Mio
Rimorso’, but he gave a solid performance overall and with his very
pleasant tenor voice he is a promising artist to watch in the
future.
De Jong was all class as the meddling
father. A picture of poise and elegance, his rich, resonant bass
voice was used to great effect.
Not to take anything away form the
lead performers but the Melbourne Opera Chorus almost stole the show
with their precise, strong singing. Rick Prakhoff (alternating with
Greg Hocking) led the Melbourne Opera Orchestra in a superb,
well-controlled rendition of the divine score.
Designer Andrew Bellchambers framed
the action in a series of gilded picture frames at various angles,
suggesting a decadent life gone awry. The camellia motif, suggested
by the source material ‘La Dame aux Camelias’, was used effectively
throughout. Costumes, by Sue Hall, were extremely attractive and
were pristine in appearance.
Hugh Halliday’s direction keeps the
movement flowing when needed, even with a very large cast filling
the small stage of the Athenaeum to capacity. Thankfully Halliday
does not distract the performers or audience from the primary focus,
which is of course the music. A strong touch was the death scene:
when Violetta rises with a last breath of energy, Alfredo comes
forward to embrace her but she crumples like a rag doll in the split
second before he reaches her and he is left grasping at empty space.
The final picture of Alfredo cradling Violetta’s limp body, while
Giorgio is filled with remorse, was very moving.
La Traviata runs in Melbourne until 29th
March. This is a very pleasing production, particularly in terms of
the quality of the music, which would be enjoyed by devotees and
newcomers alike. Bookings are through Ticketmaster
www.ticketmaster.com.au (hint: considering sitting in the dress
circle or balcony).
Simon has
appeared in about 40 productions over the past thirty years. Recent
roles include Uncle Henry/Guard of the Gate in The Wizard of Oz
(Catchment) and Eugene Fodor in Crazy for You (Whitehorse). Other
favourite roles include Mr Fox in Mack and Mabel, Max in The Sound
of Music, Freddy in My Fair Lady, Julio in Paint Your Wagon,
Marcellus in The Music Man and Grantaire in Les Miserables.
Simon has
directed several school productions. Recently he choreographed
Urinetown and Little Shop of Horrors for St Michael’s Grammar
School. He is currently directing Hot Mikado for St Michael’s, to be
staged at the Athenaeum Theatre in May.
Simon has served
on the Music Theatre Guild of Victoria Committee for five years, and
is currently Treasurer. He is also a keen audience member, having
seen over 50 shows in five weeks on a recent trip to New York and
London.
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