Wednesday, November 23, 2022
HomeOperaThe Opera Tattler: SF Opera's La Traviata

The Opera Tattler: SF Opera’s La Traviata

_DSC2206* Notes * 
A model new manufacturing of Verdi’s La Traviata (Act II Scene 2 pictured, {photograph} by Cory Weaver) opened at San Francisco Opera yesterday night, kicking off a sequence of operas by this composer performed by our new Music Director Eun Solar Kim. The orchestra sounded beautiful, however undoubtedly extra restrained than in earlier outings of this piece in latest reminiscence.

The overture was dealt with fairly effectively by Maestra Kim, everybody sounded very stunning, the tempi weren’t excessively quick. There have been moments with the refrain particularly the place there have been points with synchrony. The offstage bandas in each Act I and Act III sounded good and collectively. The strings have been beautiful in Act III, as Violetta dies.

There have been six former Merolini on this opera, so quite a lot of acquainted faces and voices. Most notable of those have been mezzo-soprano Taylor Raven (2016) as a sympathetic Flora Bervoix and bass-baritone Philip Skinner (1985) as a fairly terrifying Baron Dauphol.

_DSC2038For the three most necessary principals we had three San Francisco Opera debuts. Baritone Simone Piazzola had a lush heat as Giorgio Germont, the precise combination of sternness and fatherly care. He sang each “Pura siccome un angelo, Iddio mi diè una figlia” and “Di Provenza il mar, il suol chi dal cor ti cancellò?” very effectively, the latter caught with me as a spotlight of the night. Tenor Jonathan Tetelman (Alfredo) had a really fairly second within the Act I duet “Un dì, felice, eterea,” however had a bent to yell his excessive notes in any other case, he does not appear to have excellent management of his quantity. Most fascinating was the Violetta, soprano Fairly Yende. Her singing in Act I appeared a bit delicate and icily metallic, however she introduced unbelievable pathos to Acts II and III, and the resonances of her voice labored very effectively for her duets with Germont and Alfredo. I discovered her “Gran Dio!…morir sì giovane” on the very finish significantly arresting.

This new staging from director Shawna Lacey appears very very like her Tosca from 2018, and it is no surprise that the set designer, Robert Innes Hopkins, is identical. I do want that they’d taken this chance to make the scene change in Act II smoother, it actually took quite a lot of time to vary the set from Violetta’s nation home to Flora’s occasion, and the viewers didn’t calm down shortly sufficient when the music began once more. The contrasts between the saturated, nearly lurid colours of the occasion scenes with the others have been stark.

The realism of intercourse, violence, and sickness all through have been unsettling. The courtesans do some nineteenth century model of twerking at Flora’s occasion, the Baron does appear harmful and scary, and having Violetta cough all all through the piece was efficient. There was some colourful cross dressing in Act II Scene 2 from the Marquis, who wears a pink tutu together with his tuxedo tails and from the dancers who had bisected costumes portraying masculine and female night put on on either side. Violetta does look genuinely sick within the final act (pictured, {photograph} by Cory Weaver) and this solely added to how distressing the tip is.

* Tattling * 
The viewers was enthusiastic and the truth that this efficiency was simulcast to the close by baseball stadium certianly heightened the joy. I did hear a mobile phone ring home left on the Orchestra Stage as Fairly Yende sang “È strano! … Ah, fors’ è lui” in Act I. Additionally, the particular person in Row Q Seat 3 stored crinkling a plastic bottle initially of Act II Scene 2. Although I felt irritated by these disturbances, it’s type of good that issues are a lot again to regular.



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