The perfect introduction to opera. If you want a feast for eyes, ears, and mind, make a trip to La Traviata a priority.
If this is a safe space, can I confess something?
This was my first opera – ever. Unless you count a one-act Hansel and Gretel production for kids my mum took me to when I was about 8, and which didn’t make much impression. Other than that, my knowledge of La Traviata was only through my deep and passionate love for Baz Luhrmann’s 2001 Moulin Rouge! which is based upon it.
However, upon gathering my courage and entering the intimidatingly grand Theatre Royal while this opera plays, you will be enthralled by the grandeur and sophistication of a beautiful and timeless love story.
La Traviata (The Fallen Woman) is Verdi’s 1853 opera about Violetta, a beautiful courtesan, and Alfredo, her devoted admirer, who despite falling madly in love are pulled apart by family, circumstance and general tragedy, reuniting finally as Violetta succumbs to the consumption which shortens her tumultuous life.
I promise you will not hear a more beautiful soprano this year than Hye-Youn Lee, an enthralling Violetta who manages to capture the transformation from a glamorous, cynical courtesan to besotted, desolate pauper. The production (originally by Sir David McVicar in 2008, revival directed by Leo Castaldi) doesn’t shy away from the horror of a death from disease, and Hye-Youn’s ability to sing those high notes while sprawled in pain on a bed truly blows my mind.
The other true star of the cast was Ji-Min Park, playing an adorable love-blind Alfredo. His voice holds enough power to match Hye-Youn Lee’s, and carries off the despairing rage-fueled ending of Act II with great grace. This is Ji-Min’s first performance with the Scottish Opera, and after seeing the humility and emotion in his face after the performance, I wish him many more.
The sets and costumes are lush and it’s a treat to see so many performers on stage in an age where many other branches of theatre cut performer numbers to a bare minimum. The power of their voices, particularly in the Act II finale, is absolutely glorious. The orchestra, led by Stuart Stratford, carries Verdi’s passionate music wonderfully.
The performance also features dancing choreographed by Andrew George. In Act I there is a slightly awkward solo moment that to me felt disjointed to the rest of the performance, and led me to doubt – but the Act II “Di Madride noi siame mattadori” it brought much needed flair and excitement to an otherwise very contained story – and even a cheeky little cross-dressing joke (because what is theatre without at least a little cross-dressing?).
The production is sparklingly polished and engaging, even to a complete opera novice such as myself. If you want a feast for eyes, ears, and mind, make a trip to La Traviata a priority.