There hasn’t exactly been a shortage of full-stage productions of “La traviata” here on the mountain in recent years. Both Northern Norwegian Opera (2013), Den Norske Opera og Ballett (2015), Trondheim Symphony Orchestra and Opera (2018), Bergen Opera (2019) and Opera Nordfjordeid (2022) have served different versions of the story of the courtesan Violetta’s path from easy life to luxury, via impossible love to tragic death. “La traviata” Music by Giuseppe Verdi, libretto by Francesco Maria Piave Premiere 6 March 1853 at La Fenice opera in Venice “La traviata” is based on Alexandre Dumas the Younger’s play “The Camellia Lady”, which Verdi saw in Paris in February 1852 Like the play, the opera is a depiction of contemporary upper-class life and luxury prostitution, although Verdi and Piave had to add the plot to “ca. 1700”. “La traviata” was the second most played of all operas worldwide last season, beaten only by “The Magic Flute” (source: Operabase.com) Plot: The courtesan Violetta gives up her luxurious and hedonistic life in Paris in favor of a simpler existence in the country together with the romantic Alfredo. However, Alfredo’s father puts his foot down for a relationship that will destroy the family’s good name and reputation. Violetta finally manages to reconcile with Alfredo and his family before she dies of tuberculosis. To the extent that Greek Rodula Gaitanou’s new production at Den Norske Opera og Ballett brings something new to the market, it is perhaps mostly about toning down the tendency for radical directorial moves that have characterized the opera field in the last couple of decades. The National Opera’s previous production, directed by German Tatjana Gürbaca, had a significantly more radical stage language and was definitely more hard-hitting political. Gaitanou, on the other hand, has created a production where great soloist performances are primarily mirrored by dazzling scenography and well-choreographed ensemble scenes. It’s beautiful and impressive, but also a bit bland. Babylon Paris GLAMOROUS MODERNITY: Violetta’s salon in Art Deco style. Photo: Erik Berg / DNOB Gaitanou’s main directorial move is to move the action from the somewhat gray and boring 1850s to the period in French history often referred to as les Anées folles (“the crazy years”), namely the 1920s. Let it be said right away: Visually, this set-up is a feast. The eye is delighted by the Art Deco-inspired scenography, and by costumes that convey a glamorous modernity (which admittedly still swings in waltz rhythm, given that Verdi’s music from 1853 remains unchanged). The last act is perhaps the most successful visually. The bare and now completely abstract Art Deco arches here frame the social void that surrounds Violetta, while at the same time they stand as heavy emblems of the past that she can never fully escape. TRAGIC WEIGHT: Violetta’s sickbed in Act Three. Photo: Erik Berg / DNOB At the same time, it is obvious that the performance appeals quite shamelessly to a 1920s nostalgia recognizable from series successes such as “Downton Abbey” and “Babylon Berlin”. There is a danger here that we become fascinated by the fact that a social environment such as the opera casts a critical eye on. Something happens with the look when the action is added to an era marked by a settlement with patriarchal attitudes and structures. Events initially made possible by an uneven distribution of power can appear in 1920s garb as delightful party activity that exceeds the norm. Without the aspect of repression, Violetta’s tragedy also becomes a dimension poorer. Under Gaitaou’s direction, the emphasis on spectacular tableaus has obviously made the human and social aspects of the drama more obscure. Charming leading role IMPRESSIVE: Soprano Yaritza Véliz convinces, despite the fact that her voice charms more than it grips. Photo: Erik Berg / DNOB Vocally, the performance has a strong card in the Chilean soprano Yaritza Véliz in the role of Violetta. Véliz has a striking ability to make Verdi’s well-known melodic lines come to life and become spontaneously expressive, often in the most unexpected places. Véliz nevertheless has a voice that charms more than it grips. The great and tragic feelings are never fully expressed in her interpretation of Violetta. More disappointing is the Italian tenor Davide Giusti. His Alfredo lacks lightness and flexibility, and ends up strained and charmless in expression. Giusti certainly shines with a great sound in some of the more powerful parts. In the more intimate and low-key register, however, he sounds strikingly flat. CHARMLESS: Tenor Davide Giusti in the role of Alfredo. Photo: Erik Berg / DNOB Baryton Yngve Søberg, on the other hand, delivers a solid performance as Giorgio Germont, Alfredo’s father. The big confrontation between Giorgio and Violetta in the second act never quite becomes the heartbreaking drama it should be. Again, the problem is that Véliz does not fully exploit the dramatic potential inherent in the character of Violetta. In moments that call for desperation, she settles for resignation. The smaller roles, on the other hand, maintain a consistently high quality. Magnus Staveland’s Gastone sits vocally like a shot, and is pleasantly seasoned with a touch of John Cleese in his body language. Mari Askvik’s kinky Flora is also a highlight. As usual, the opera choir makes a brilliant effort, and contributes to the large ensemble scenes appearing as extremely well-oiled machinery. Want too little There is certainly a lot to enjoy in this production of “La traviata”. Its fundamental problem is equally that the human drama somehow never quite breaks through the elegant visual surface. This is therefore both about Gaitanous’ direction and Véliz’s interpretation of the main role. But conductor Anja Bülhmaier could also have stretched a larger dramatic canvas from the orchestra pit. I’m left with the feeling that ultimately this show might not want to do much more than look spectacular. In this sense, it is significant that the only cut that is made is the second stanza of Violetta’s great and tragic solo number at the beginning of the third act. The enduring popularity of “La traviata” perhaps says something about the fact that the opera’s themes – money, sex and power – still have a certain relevance. A slightly sharper focus on this theme could have raised this performance a couple of notches. news reviews Title: “La traviata” Venue: The Norwegian Opera and Ballet Music: Giuseppe Verdi Libretto: Francesco Maria Piave Musical direction: Anja Bihlmaier/Constantin Trinks Director: Rodula Gaitanou Scenography and costumes: Takis Lighting design: DM Wood Choreographer: Lars Jacob Holm Cast: Yaritza Véliz/Lina Johnson (Violetta Valéry), Davide Giusti/Bror Magnus Tødenes (Alfredo Germont), Yngve Søberg/Johannes Weisser (Giorgio Germont), Mari Askvik/Margaret Newcomb (Flora), Íris Björk Gunnarsdóttír (Annina), Magnus Staveland/Marius Roth Christensen (Gastone), Aleksander Nohr/Sakarias Fredriksen Tranvåg (Baron Douphol), Simon Thorbjørnsen (Marquis of Obigny), Jens-Erik Aasbø/Pietro Simone (Doctor Grenvil), Nicholas Cotellessa (Giuseppe, Violetta’s servant), Trond Bjerkholt/Krzysztof Aureliusz Luczynski (Flora’s servant), Robert Näse (The Commissioner), Opera Choir, Opera Orchestra. Date: 23 September–2 February
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“La traviata” at the Norwegian Opera and Ballet – Reviews and recommendations
