La Traviata

Opera Australia’s La Traviata returns to Sydney once again, playing to a captive audience at the magnificent Sydney Opera House. Upon entering the theatre, it is the first notes of the violins that set the tone for this much celebrated opera. La Traviata, meaning ‘The Fallen Woman’, is a tragic tale about a Parisian courtesan, Violetta, who yearns to leave her party-girl lifestyle behind her in favour of true love. But beneath her beautiful, vibrant exterior lies a dark secret. Violetta knows that she is slowly dying and will eventually succumb to consumption.  It’s a romantic tragedy that highlights the hypocrisy of upper-class fashionable society when Violetta is persuaded to relinquish her one true love (Alfredo Germont), to keep the social status of his family intact.

Composer Giuseppe Verdi’s passion for putting disparaged characters in the spotlight shines in this production. Inspired by the 1852 play La Dame aux camelias by Alexandre Dumas, Verdi sought to incorporate current themes into his work that related to a modern-day audience. His progressive thinking is rumoured to have inspired many other productions, such as the movies Pretty Woman and Moulin Rouge. There are elements of this production that are reminiscent of both. From the lavish opening scene, set in Violetta’s Parisian salon to the red velvet curtains and impressionist paintings that adorn the walls of the set, the design is so breathtaking that upon each act reveal, audible gasps could be heard from the audience.

As beautiful courtesan Violetta, Stacey Alleaume brings the perfect balance of playfulness and vulnerability to the role. Her soaring soprano voice ringing clearly and effortlessly throughout the Joan Sutherland Theatre, proving once again, that she has a bright future ahead of her. Adding to her appeal is the fact that she is a home-grown talent, which leaves me curious about the casting of imports in some of the other lead roles, when such talent is at our disposal. Alleaume has the capacity to command the stage with her dynamic range but it’s her connection to the lyric and her dramatic physicality that takes the audience with her.

Liparit Avetisyan plays love interest Alfredo Germont. His powerful tenor voice is rich and the chemistry between the two lovers is believable, however there is no doubt that this is Alleaume’s show. Alfredo’s father (Giorgio Germont) is played by Mario Cassi and his duet with Violetta is a highlight. Cassi proved an audience favourite with his balance of power and empathy. He brought a unique gravitas to the role and delivered the somewhat awkward moral dilemma of asking Violetta to leave Alfredo with a degree of tenderness and likeability.

While I admit that the opera is not my chosen musical preference, there is something to be said for this production. Constantine Costi’s revival direction is clear, making this French opera easy to follow and gives the performers the space they need to take control of the piece.  The costumes, set design and Alleaume are worth the ticket price alone and Verdi’s score may even enlighten your musical senses, as it did mine.

Debora Krizak

Images by Jeff Busby, with the exception of the lead image by Keith Saunders.