What is it about the WNO and La Traviata? A modern-day production, directed by Patrice Caurier and Moshe Leiser, the company’s opening production at the Millennium Centre some three years ago failed to capture the magic and now set in Verdi’s nineteenth century, directed by David McVicar, despite some fine musical highlights, also fails to completely convince and capture our emotions in the way the story and the music demand.
As always it is the company’s two vital operatic elements that totally engage our senses and imagination. The orchestra under the skilful and subtle control of Andrea Licata, well equipped to take over the baton from Carlo Rizzi gave us quiet seductive beauty in the opening moments, struck up like a lively brass band at one point, handled the melodrama in the music superbly and provided a bedrock under the tough demands for the soloists. The magnificent WNO chorus was once again in fine voice and in this production they did carry off the air of sophisticated debauchery that this Parisienne society indulges in extremely convincingly.
It really is a big sing for Myrtò Papatanasiu. She handles the challenge well but is less captivating in her acting, clearly an artist with a passion within her that needs developing to bring it out to the full. Alfie Boe as the thwarted Alfredo is also pleasant to watch but disappointing, he has a voice like a good Beaujolais nouveau but there is a hint that the full burgundy is on the way. His character does seem like a young boy out of his depth but doing his best to respond to the situations he finds himself in. All the relationships between the characters seemed superficial. Clearly verisimilitude in opera is a difficult aspect to capture and more so with the melodrama that surrounds this sad tale, yet without it there is no art.
Dario Solari finds some well rounded mature tones but again he is a bit stiff and too studied with the emotion. There is a nicely rounded performance from Joanne Thomas as Annina. Eddie Wade’s Baron and Louise Poole’s Flora bring a touch of colour to their roles and David Soar does his usual efficient but uninspiring job as the Doctor.
There is a sumptuous set design by Tanya McCallin and with her voluptuous drapes and the lighting of Jennifer Tipton we have some marvellous stage pictures, at times reminiscent of the paintings of Rembrandt. As an accompaniment to the overture the workmen preparing the room for the opening party seen over the half lowered curtain did seem a little superfluous. But Alfredo, looking very vulnerable, walking over the autumn leaves in the garden did give an indication of a sensitivity that as the narrative enfolded never totally captivated.
To catch the art of opera at its finest don’t miss Christopher Purves singing the leading role in the company’s award winning production of Berg’s Wozzeck on the 27th September and 2nd October. For full details of the season see the company’s web site: www.wno.org.uk
|
