Verdi’s masterpiece La Traviata in best production ever
An Opera review by Victor Grynberg
Critics are meant to be unbiased, but this critic will happily admit that Giuseppe Verdi is his favourite (amongst quite a few) opera composer, and of all the Verdi masterpieces, La Traviata is indeed his first choice.
Samantha Clarke as Violetta Valéry and the Opera Australia Chorus in La Traviata 2024. Photo Credit: Keith Saunders
For a generation, I always thought the classic production originally directed and subsequently revived countless times of the Elijah Moshinsky design was the ultimate.
However, this new production directed by the very talented Sarah Giles has lifted the reality and power of the story about Violetta, a most wanted courtesan (The Fallen Woman) immensely,
With a set so cleverly designed by Charles Davis and so suitable to be modified between acts with totally different locations, the impact of the love affair and then the final illness of Violetta is perfectly told.
Adding to the impact of this new production is a completely updated system of surtitles. Instead of some somewhat fuzzy writing in the centre, we now have crystal clear writing, completely directional. In other words, if a singer is on the left of the stage, that’s where the lines are above. And so on across the whole set. Just fantastic.
Naturally, everything falls into insignificance if the singing, especially by the two leads, is not of the highest quality. The magnificent melodies, one great one followed immediately by another, are certainly done justice by the two local singers.
Samantha Clarke, Violetta, was excellent. Reaching the most challenging notes with apparent ease. This is a role where, from memory over the years, I’ve been fortunate enough to hear sopranos of absolute top quality. June Bronhill, Marilyn Richardson, Yvonne Kenny, Cheryl Barker, Emma Matthews and most recently Nicole Car. The more than enthusiastic applause at the conclusion was evidence of Ms Clarke’s mastery of the role.
If sopranos have been a strength of productions by originally the Elizabethan Theatre Trust, then the Australian Opera and nowadays Opera Australia, the same cannot always be said of tenors. So it’s important to acknowledge Chinese-born but now Australian Kang Wong, who did a superb job as Violetta’s lover Alfredo Germont. Matching Wong was New Zealand baritone Phillip Rhodes as Alfredo’s father, Giorgio. Interfering with the romance to protect the interests of his daughter to get the right husband because her brother was living with the salacious “fallen woman”.
As usual with OA productions, the support roles, principally Angela Hogan as Flora and the always top-class Richard Anderson as Baron Douphol, were first class.
What I really enjoy always are the Chorus and the whole troupe, together a wonderful show.
Music, of course, lies at the heart of any Opera, and the fine Opera Australia Orchestra was marvellous. Conductor Jessica Cottis certainly proved her value.
At the end of the performance, somewhat unusually in Sydney, there was a prolonged unanimous standing ovation. So richly deserved.
Whether for the first time or the umpteenth time, don’t miss this. A long season runs till March 14.
5 Stars
La Traviata
Joan Sutherland Theatre
Sydney Opera House
January 2, 2024
