New cast members couldn’t wish for a more solid and uncluttered production of Verdi’s La Traviata than the one currently in WNO’s repertory.
First seen in 2009, David McVicar’s version establishes a louring atmosphere of unease. Death is in the air and in the furnishings and those offstage jollifications have never seemed more indicative of a doomed way of life.
The most significant newcomer this time around is conductor Julia Jones, in her WNO début. She really digs deeply to mirror in the orchestral playing the ups and downs of what the singers are enacting.
Into the barely suppressible gloom of the party scenes enters another newcomer, Canadian soprano Joyce El-Khoury, as Violetta. Her comparative youth lends poignancy to a character struggling with debt, sacrifice, dishonour and the ‘hectic flush’ of tuberculosis.
El-Khoury drove her voice at times early on but by the end was singing with tear-jerking anguish, her dynamic range wide and in the main firmly held.
Equally her match in age and sympathy is Italian-American Leonardo Capalbo, as Alfredo Germont. Also in a company début, he’s taken over temporarily from Carlos Osuna, who’s had to withdraw for personal reasons.
Capalbo acts the callow youth, which is fine. The vocal characterisation on this opening night was a trifle unfocused. But it will surely come
Both these performances are fast maturing, helped not least by the magisterial Giorgio Germont of Jason Howard. He had the firmest Verdian credentials on stage and it showed in a performance of towering authority.
It’s only a shame that this production’s predecessor was such an unmitigated box of frogs. It used up some excellent singers in a dodgy concept. Bet the principals wish they could have had a go in this one. The hear-all, see-all chorus, of course, singing on this occasion and as always with grand, premium vigour, presumably have a laugh and pass on.
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