Libretto
Francesco
Maria Piave
The Ukrainian National Opera
of Odessa
Violetta Valery
Rosa Lee Thomas
Alfredo Germont
Akhmed Agadi
Giorgio Germont
Vladimir Dragos
Flora Bervoix
Nadezhda Stoianova
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La Traviata
by Guiseepe Verdi
Richmond Theatre
25 May 2005
Asked in his lifetime which of his operas he considered his best, Giuseppe Verdi replied: "Speaking as a professional, Rigoletto, as an amateur, Traviata." First performed in 1853, La Traviata's poignant tale of a fallen woman redeemed by love, has endeared itself to generations of music lovers. Probably more than his earlier works, it inspired an especially subtle, delicate and flexible score from the composer befitting its tragic sensibilities. Realism was popular in artistic circles in Paris in the mid nineteenth century, but it wasn't until Verdi chose to set Alexandre Dumas the younger's 'La Dame aux Camelias' to music, (with a libretto by Francesco Maria Piave) that opera tackled such bourgeoise, and frankly unheroic circles. The ravishing, consumptive Violetta - the archetypal tart with a heart - was a necessary satellite of this world. In our taboo-trounced times, it is worth remembering that this was a risque story for the period!
The Ukrainian National Opera of Odessa are currently performing La Traviata in a touring production of the U.K. The Richmond Theatre was their platform on this particular balmy, early summer's evening. Despite not matching the scale of the Odessa's own famously magnificent opera house, the theatre is a fair setting for the company - its wedding cake interior a sculpted paean to high-victorian embellishment - and well worth a visit.
Soprano Rosa Lee Thomas - fresh from performing the opera's highlights at the Fishmonger's Hall the night before in aid of the children's charity NCH - was in fine fettle. She is also touring in the company's Madame Butterfly concurrently, but if exhausted, hides it well. Born in Seoul, raised in L.A and now a British citizen, she had the benefit of her mother's support in the audience, who told me that it was her second, enjoyable visit to Richmond! Despite her inexpressive, at times haughty face (critics have favoured her Butterfly, over Violetta) the soprano gave a more than competetent rendering of the role, and in its more passionate moments contrived to visibly move her audience.
The first act introduces us to Alfredo Germont, the courtesan's young suitor, sung by the charismatic tenor Akhmed Agadi. His winning ways carry the part with aplomb, commanding the stage even when surrounded by a crowd. Hearty of voice, these revellers present a convincing if gaudy ensemble in their evening suits and fashionable Charles Frederick Worth-inspired fondant-hued crinolines.The orchestra took a little time to warm to the prelude, but by the end of Act I they too were hitting their emotive stride.
The supporting cast - particularly Giorgio Germont, sung by the baritone Vladimir Dragos - all rise to the occasion. In the second act we hear him passionately convince Violetta to abandon his son to save the family honour in their famous duet. Her subsequent public humiliation at her lover's hands at her friend Flora Bervoix's house is an opportunity for the young mezzo-soprano who plays her, Nadezha Stoianova, to shine, blessed as she is with both beauty and presence.
Musically, Act III is the performance's strongest on the night. Once again the prelude's theme returns, muted and mournful. Rosa Lee Thomas' features take on an increasingly familiar pathos and her voice soars, while Alfredo and Giorgio Germont acquit themselves honourably at her deathbed. All passion spent, we must reflect on the irony of this demi-mondaine felled by TB, a condition which (as Thomas Mann memorably described) can exacerbate its sufferer's sex drive!
One final note: regretably, the last set is the weakest of the evening, for it is drab and dated. Earlier backdrops were similarly mannered and painterly but just about passed muster despite being too highly coloured. However, this is a mere quibble in what was otherwise an entertaining and well executed performance.
Caroline Kellett Fraysse
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