La Traviata

A startling reveal at curtain-up bathes the stage in vivid red lighting, symbolic perhaps of the courtesan’s calling.  We simultaneously gaze into three rooms within Violetta’s Paris apartment: the occupied bedroom, a drawing room (where a party is in progress) and small entry hall.  The swishing and swirling of the female chorus’ glamorous ball gowns lend a rather polished grandeur (considering the profession of these women) and almost possess a persona of their own, denoting the flow and opulence of of non-stop partying and a pleasure-centred lifestyle.

Working closely with the Director, award-winning Set & Costume Designer Charles Davis has rendered the elegant architectural design of the set in a restrained colour palette.  The compartmentalised plan allows us an intimate, voyeuristic view of the action but it’s flexibility and simplicity is impressive. As the opera progresses, the stage space becomes increasingly spare; yes, Violetta sells or gives away her possessions but it is also representative of her pared back psychological state as she nears death. 

In their lead roles, Lauren Fagan and Kang Wang are astonishing.  Fagan’s uncompromising soprano purity is a joy to listen to and her characterization is strong.  As the consumptive and unapologetic Violetta who is assailed by the unexpected opportunity of true love, Fagan voices the part majestically and delivers the role with sensitivity and subtlety.  Wang’s beautifully toned and luxuriant lyric tenor is swoon-worthy and his depiction of Alfredo mostly hits the right emotional levels.  Adelaide is indeed fortunate to have these two internationally renowned singers perform here.

The State Opera chorus (with Chorus Master Anthony Hunt) is in fine form as usual and their ensemble power colours the narrative both vocally and visually with Sarah Giles’ inspired direction employing the grouped performers as perfect adjuncts to the story.  There is a tableaux moment in Act One with chorus arranged downstage like a debauched Greco Roman frieze, then up-lit, endowing the scene with a vintage vaudeville feel.  In Act Two, another visual frames the chorus within the architecture as an eager audience at Flora’s party entertainment placing the (uncredited) masked Matador dancers with their backs to the theatre audience.

All the soloists give fine performances and grace their roles with excellent acting alongside their skilled vocals.  The scene between Violetta and Alfredo’s father, Giorgio Germont (James Roser) is particularly striking, vocally and emotionally.  Another directorial choice enhances the visual story as Giles places dimly lit, shadowy performers upstage to illustrate characters and moments spoken of during the confrontation between the two.  These dollhouse-like figures illuminate Violetta’s inner thoughts and her path to some difficult choices.  The same device is used successfully at later points in the work with gentle reference to the supernatural.

In this interpretation, a simplification of localities within the story and the seamless, almost magical scene changes allow narrative and performances to shine.   The ingenuity of the lighting design contributed by Paul Jackson adds another artistic layer to the production as we shift between Violetta’s town and country abodes and Flora’s apartment.  The warm glow of the country terrace scene, replete with falling leaves as symbolic of Violetta’s tenuous life force, contrasts vividly with the subdued grey/blue lighting state of the Act Three drawing room where our heroine lies awaiting death; and yet again, with the sunshine streaming through the window in the bedroom next door, as life continues without Violetta’s essence.

La Traviata is a co-production between Opera Queensland, State Opera South Australia and West Australian Opera.  Our own Adelaide Symphony Orchestra shone under the baton of guest conductor Oliver von Dohnányi in the excellent acoustic of the refurbished Her Majesty’s Theatre.  Of course, the singing is the star of this production but the unfolding drama is faultlessly supported by nuanced, thoughtful direction combined with remarkable design elements so that the whole is greater than the sum of its impressive parts.

Lisa Lanzi

Images: The Photography Place