BY LUCY RASH AND MEGAN BURSLEM
Victorian Opera
La Traviata by Verdi
Her Majesty’s Theatre, May 17 2014
A great deal of hype has ensued in the lead up to the Victorian Opera’s production of La Traviata, not least because of Josef Svoboda’s set. On opening night here at Her Majesty’s Theatre, the very first thing to confront the audience is exactly that: the late, great Czech designer’s towering wall of mirrored panels which tilts forward to reflect the action as it happens live on stage.
Director Henning Brockhaus’ vision is clear from the start: this Traviata is all about the mirrors and, as a result, the various perspectives it affords the audience. In the decadent opening scene when Violetta throws a lavish party in her Paris salon (and meets her suitor, Alfredo), much is obscured from our view in the stalls. What the mirror provides, though, is direct insight into the (very deliberate) obscurity; an inherently alternative view. The overall effect is the acting out of two performances: that which occurs onstage, and that which is produced overhead. A stunning addition to the aesthetic is a series of tapestry-like floor cloths, which peel back to reveal a variety of scenes as the opera rolls on. Throw singers, dancers, and a collection of delightfully plush props into the mix and the result is a backdrop that resembles a delicately curated scene from the ceiling of Da Vinci’s Sistine Chapel fresco.
Yet another drawcard for this production is the presence of local hero Jessica Pratt. The young soprano shines as Violetta, and her ability to articulate the many faces of the character is remarkable. Pratt’s performance of ‘E strano’, ‘Ah! Fors’e lui’ and ‘Sempre libera’, the much-loved Act I sequence, is notably impressive and receives an ovation at its conclusion. Throughout Act II, Pratt seems to fade, withdrawn and out of breath. Ironically, perhaps, she seems to regain her confidence in Act III as an estranged, delusional, and dying Violetta.
Alessandro Scotto di Luzio doesn’t give his best performance as Alfredo, Violetta’s suitor. His rich, clean tenor soars until an unfortunate vocal slip in an Act II cadenza throws both soloist and audience. Though he recovers well, it’s clear the lapse has left its mark, and the chemistry between Pratt and Scotto di Luzio suffers notably. Judging by his obvious talent, such misfortune is sure to be redeemed as the season continues.
Favourite José Carbó is a stoic if not unintentionally stiff Giorgio Germont. The emotional connection between he and Alfredo is strong. Undoubtedly the triumph of the night, however, is the Victorian Opera Chamber Orchestra, conducted by Artistic Director Richard Mills. In his program notes, Mills writes that with La Traviata, Verdi has “given the world such a treasure for exploration and interpretation”. The orchestra honours his vision to a tee: its sound is as delicately nuanced and triumphant as Violetta herself. Special mention must go to principal clarinettist Philip Arkinstall for his exquisite Act II solo.
Of immediate interest to any opera-goer, of course, are the costumes. In Act I the chorus are provocatively (yet immaculately) presented in 19th Century Parisian attire with just the right amount of garter action to keep the gentlemen of the audience entertained. All stops are pulled out with regard to visual effect here, which almost makes up for the dullness of palette in Act II in which the colour brown rules the roost and Violetta appears onstage in a particularly uninspiring frock. This attire is trumped by that of a member of the chorus, who is wearing a modern suit and tie, making it look like he’d dropped in after a long day at H&R Block, while the other gentlemen look suitably dapper.
With characters gazing into the backdrop during the more poignant moments, the creative intention of the mirror was clear: to create a sense of insight into the characters’ lives, both for the audience and the characters themselves. The effect of singers’ turning their back to the audience, however, was often a muted voice, affecting lasting opportunities for connection with the audience.
Overall, the calibre of performance tonight is just a touch jarring set against the obvious creative investment of Svoboda’s mirrors. Nonetheless, the gut seems to say the singers will settle after the passing of opening night pressures from a production so hotly anticipated.
Image supplied. Credit: Jeff Busby.
