BY STEPHANIE ESLAKE
La Traviata
Opera Australia
Arts Centre Melbourne, 28 April
Act 1
Why is everybody saying that opera is ‘dead’? This is pretty much a full house. And it’s a matinee.
Oh, yep. An opening sure can be big without being robust. Bring it on, Verdi.
Don’t underestimate the power of a good set design. I mean, just look at it:
Seriously feeling like I’m actually in this Parisian salon with you guys. Where’s my crystal glass?
Okay, wow. These surtitles are insurmountable. Glad I brought my specs.
I know opera is a serious artform, but there will always be something that lifts the spirit about breaking out into song at the drop of a hat (or, the drop of a baton).
Violetta, you astound. How do you do that? How do you reach an entire hall of listeners, through your startlingly touching (and startlingly consistent) tone, while you express the most sensitive moment?
Loving this timbre. Keep it coming, Corrine Winters.
I’m feeling like the musicians really are down in that pit. I’m missing out on some high frequencies. Really wanting more of you.
It starts to make sense when this slight aural void is fulfilled by the singers, though. Good job, musos – but please give me MOAR.
(Thank god for that safety net, too. I wonder how many instruments were saved from crash-landing sopranos?)
Having two intervals is entirely sophisticated. All concerts should do this. I don’t care if it’s opera, classical, or jazz.
Act 2
This is an amazingly cast production. High level of chemistry. Complementary vocal colours. That’s what I’m talking about.
If all Australian debuts are like Corinne Winters’, we’ve gotta start seeing more new artists on stage.
These surtitles go above and beyond. Time to stretch that neck.
Alfredo, I could listen to you and pappa Giorgio every day for the rest of my life. Yosep Kang and José Carbó, thank you for your art.
Look, I’m sorry, though. But Violetta, why would you fall for this guy??
I mean, Alfredo might have the voice, but when it comes to personality, you could do much better.
First he rushes you into things. Then he succumbs to his utter weakness. Then he comes back to humiliate you, and soon he will say sorry when you’re on your death bed. Wow.
Why do so many women in opera lack self-worth?
Is it a little weird being transported so far into the past and into this musical world…in the middle of a Melbourne afternoon?
Tasmania’s Theatre Royal, take note: you need to put the red carpet EVERYWHERE.
Act 3
Okay. Let’s do this.
Hey, how come we can clap between songs at the opera but not between movements at the orchestra?
It’s time to prepare for this slow, slow, slow death.
Is it really cynical to think: ‘We know it’s coming, let’s get a move on?’.
I’m pretty sure people suffering from tuberculosis back then didn’t actually live this long. She’s doing pretty well. But who knows – my degree is in music, not medicine.
Yeah, now you come through, Alfredo. It’s a little too late. She is dying.
Oh no – what’s this? Am I going to cry? I can’t cry. It’s not happening. Okay, it’s almost happening. HOLD IT TOGETHER.
Ah, it’s over – that was a close one.
Why are we spending five minutes clapping for our leading roles, and yet the chorus hasn’t come out? You singers were the stars of the show, too, you know.
There’s nothing wrong with tradition. There’s nothing wrong with performing La Traviata for decades and decades. As long as we have balance, we should continue to respect these classic operas.
…can I see it again?
What did our other critics think?
Read Sylvie Woods’ review of the Sydney production here, and watch Lewis Ingham’s (Literally) Live Review of Melbourne’s opening night below.
Images by Jeff Busby. Video captured by Lewis Ingham, edited by CutCommon.
