La Traviata

Scottish Opera’s production of Verdi’s La Traviata is a veritable feast for the eyes and ears, providing feats of operatic superiority, a lavish set and affecting, emotional performances.

This timeless tale concerns the forbidden love between beautiful courtesan Violetta (Carmen Giannattasio) and the nobleman Alberto, (Federico Lepre) as social class, and eventually mortal sickness impede their union. The chemistry between them, though awkward to begin with, crescendoes to an epic climax, illuminating the eternal nature of their passion. Giannattasio is undoubtedly the stronger performer of the two; her pure voice is powerful and affecting, and well conveys Violetta’s joyous attitude to life, yet on her deathbed she is able to portray her frailty with soft, haunting tones. However, while her voice is graceful and majestic, her movements are not, and at times she appears clumsy and awkward – not quite befitting of an elegant courtesan.

The set is particularly well conceived. The opening scene skillfully combines themes of death and loss with opulence and festivity: black curtains frame the stage and the floor, engraved with Violetta’s epitaph, provides the subtle background upon which the decadence of the courtesan’s life is played out. The light and airy boudoir scene well expresses the couple’s joy and freedom together, a stark contrast between the bleak and drab set of Violetta’s dying moments. Despite the constant presence of death in this tale, there are some wonderfully uplifting moments, particularly the later party scene involving a flirtatious romp between highly sexualised gypsy maidens and virile, dancing matadors.

A true gem in this performance appears in the form of Alberto’s father, Giorgio (Richard Zeller), whose impressive stage presence and strong, stirring tones move the audience to at once feel pity for his predicament, whilst condemning him for keeping the lovers apart. His remorse at the close was one of the most affecting aspects of this emotionally fraught scene.

The combination of conductor Emmanuel Joel-Hornak’s spirited presence in the pit, and David McVicar’s talented direction enabled this high budget production to shine, truly fulfiling the potential for this opera.