Last Saturday night to Opera Australia’s La Traviata.
This production dates from 1994 or so. It used to return roughly every three years. Under the present management it has been returning every second year, and there’s been a Traviata on the harbour as well.
My friend, Ub, with whom I last went to this production in 2015, had been on Thursday. “That woman’s amazing!” she told me. She meant Ermonela Jaho , who was Violetta. Ub was right: it was an amazing performance, and elicited a standing ovation from a full house which it is fair to say had probably come to see her. Is it quibbling to ask if it crossed the line between acting and over-acting? High-voltage acting is a bit like playing loud and fast, it mostly pleases. If Violetta were really a woman who lived so much on the edge, why should the assembled party-goers be so shocked when Alfredo throws the money at her feet?
This was Jaho’s last performance for this run. Maybe it is also the last time I need see this production, usually referred to as a “Moshinsky” production though I’d say a very big part of the credit goes to Michael Yeargan’s terrific sets. The costumes are also good but it’s the set which really makes it.
As I’m not a critic I shan’t do a roll-call of the cast, other than to say that Ho-Yoon Chung was fine as Alfredo if a little mousey at first – hard for him to measure up against such a woman on the edge as Violetta. What could she have seen in him?
Jose Carbo is still not for my money nasty enough as Germont. Well, when I say nasty, I mean an insidious kind of sanctimoniousness. I know the story requires him eventually to respect Violetta, but surely that’s only after she has agreed to do what he wants, and any sweetness before that need only be by way of persuasion. After all, he does tell Violetta that her looks will fade and then because she is not married to Alfredo naturally he will leave her. That’s not very nice even if, were one to take the story seriously, it could hardly pose much of a threat to a woman dying of consumption (though she seemed to be doing better during her months in the country).
Footage on Youtube of a previous outing of this production shows three becostumed bullfighters who are dancing extras in Act II Scene ii. We only had one who was banished to the back of the stage like a lost pony. The dancing is the one point when the production flags a bit. To an extent that is inherent in the work: we need a bit of time to pass and the party atmosphere needs to be established before it can be disrupted. I could easily get this scene mixed up with Act IV of Manon.
Violetta threw (and smashed) a glass in Act I.
There wasn’t very much if any of the blood-spotted handkerchief- more persistent coughing in the audience than on stage – well two persistent and more noisy than evidently ill shockers. At the end I found I half-expected Alfredo to sing something over the final chords – “Mimi!” maybe?
On the Wednesday before I went to the last night of King Roger. That made four times altogether. In other operas I have seen four times in the one run – Masked Ball, Simon Boccanegra – the fourth time has been a bit of an anticlimax. That wasn’t the case for KR because I was still on a learning curve and there was so much to get out of the music – especially the orchestration. There was so much going on.
The house was pretty well full, though the tell-tale queue at the Opera Australia service desk before hand showed that the free-list were well in attendance. Earlier performances had not been so full and I think there is something in Stuart Skelton’s criticism that when OA puts on a modern or difficult work it just sits back and waits for the the audience to come. (That link includes a response/refutation by OA of some of his points, but I’d say you have to watch out for the fine print in that.)
Late in January I went with D to Cav and Pag. I’ve left it too long to make any really detailed comments about it. I remember thinking that one was much stronger than the other but ironically I cannot now remember which. Of course I enjoyed them, how could you not?
I wasn’t as moved as I have sometimes been by the intermezzo in Cav, and I wonder if that is because of all the business that was going on.
Diego Torres took both tenor roles more than creditably.
Pag is much more “Wagnerian” than Cav – which probably mostly means more lower brass. Jose Carbo has not effaced my memories of Jonathan Summers whom I saw last time.
D didn’t twig that there was a kind of nightmare sequence going on towards the end. The price of this and the elaborate parish hall for the play was that the denouement happened a bit further back on the stage and this reduced its dramatic impact.
And that wraps up my Opera-Australia-going for this year.