G Verdi: La Traviata, Ellen Kent Opera International, New Theatre, Oxford, 20
February 2015.
Ten years
ago to the month, I reviewed an Ellen Kent production of La Traviata given by the Ukranian National Opera of Odessa (The Enjoyment of Opera p98). In a highly
favourable review, I compared the Ukranian Company as superior Chisinau
National Opera from Moldova, another company used by Kent, particularly in the
orchestral accompaniment. This new production, assembled by Ellen Kent during
2014 and on tour for the first time, redresses the balance. This time there are
the combined forces of the orchestras of the National Opera and Ballet Theatre
of Moldova and the National Philharmonic of Moldova. Under the baton of Vasyl
Vaylenko (currently Music Director and Main Conductor of the Donetsk National
Academic Opera and Ballet Theatre) they can stand comparison with any opera orchestra.
I will say at the outset that this was a performance of La Traviata which moved me more than any since I first saw it many
years ago.
The consumptive courtesan Violetta seeks a chance of happiness, setting up home in the country with Alfredo Germont a provincial lad who has fallen in love with her. But Giorgio Germont, his father, persuades Violetta to return to her old ways without explanation for the sake the honour of his family and his daughter’s marriage prospects. Alfredo publicly insults Violetta and after a duel with her protector is forced to spend time abroad. He returns in time for her to die in his arms.
During the Overture there appeared, projected on the surtitle screen, details of the history of the opera and its plot – a very good idea which I have never come across before. (You don’t have to look!) The surtitles this time are realised by Evghenii Ponomariov, not borrowed from the ROH. The curtain goes up on the first of four spectacular sets designs by Nadejda Shvets (think Zeffirelli on tour on a budget). This is a white salon with buffet table with elaborate centrepiece with Violetta’s party in full swing – a visual delight with men in black and ladies in white gowns. The country cottage is a spacious elegantly furnished living room opening onto a garden (though Violetta is still wearing her party dress, albeit with a shawl). Flora’s ball is red and black scenery and costumes and Violetta’s death in a sparsely furnished bedroom with a panoramic view over what must the Bois de Boulogne.
The cast on the evening under review was: Violetta - Alyona Kistenyova, Alfredo – Ruslan Zinevych (also Assistant Director), Giorgio – Vladimir Dragos, Flora, friend, and Anina, maid, of Violetta – Zarui Vardanean, Douphol, her lover – Stefan Donos, and the doctor – Iurie Maimescu. There were no weak links. Most interesting was the reappearance of Vladimir Dragos, loyal to Ellen Kent, who sang the role in 2005. Dragos remains one of the best baritones performing today. His Rigoletto, Sharpless (Madama Butterfly) and Germont are the most memorable that I have seen. His portrayal of Giorgio Germont has become more subtle and for once one feels sympathetic to his predicament. The lovers both alone and together give great convincing performances in all their changing moods. Kistenyova adds to the list of the great soprano voices one associates with this company. Though here she lacks the carapace of the professional courtesan, her dignity in the face of the insults at the ball and her portrayal of her sacrifice and then of her demise melted all hearts.
The theatre was full but not sold out, with an audience on average twenty years younger than that for Oxford’s only other regular visitors these days, Welsh National Opera. It brings out again that what most opera goers want is traditional productions well-performed and the incompatibility of the two objectives of attracting new audiences with that of giving directors a free hand to pursue their own agendas.
The consumptive courtesan Violetta seeks a chance of happiness, setting up home in the country with Alfredo Germont a provincial lad who has fallen in love with her. But Giorgio Germont, his father, persuades Violetta to return to her old ways without explanation for the sake the honour of his family and his daughter’s marriage prospects. Alfredo publicly insults Violetta and after a duel with her protector is forced to spend time abroad. He returns in time for her to die in his arms.
During the Overture there appeared, projected on the surtitle screen, details of the history of the opera and its plot – a very good idea which I have never come across before. (You don’t have to look!) The surtitles this time are realised by Evghenii Ponomariov, not borrowed from the ROH. The curtain goes up on the first of four spectacular sets designs by Nadejda Shvets (think Zeffirelli on tour on a budget). This is a white salon with buffet table with elaborate centrepiece with Violetta’s party in full swing – a visual delight with men in black and ladies in white gowns. The country cottage is a spacious elegantly furnished living room opening onto a garden (though Violetta is still wearing her party dress, albeit with a shawl). Flora’s ball is red and black scenery and costumes and Violetta’s death in a sparsely furnished bedroom with a panoramic view over what must the Bois de Boulogne.
The cast on the evening under review was: Violetta - Alyona Kistenyova, Alfredo – Ruslan Zinevych (also Assistant Director), Giorgio – Vladimir Dragos, Flora, friend, and Anina, maid, of Violetta – Zarui Vardanean, Douphol, her lover – Stefan Donos, and the doctor – Iurie Maimescu. There were no weak links. Most interesting was the reappearance of Vladimir Dragos, loyal to Ellen Kent, who sang the role in 2005. Dragos remains one of the best baritones performing today. His Rigoletto, Sharpless (Madama Butterfly) and Germont are the most memorable that I have seen. His portrayal of Giorgio Germont has become more subtle and for once one feels sympathetic to his predicament. The lovers both alone and together give great convincing performances in all their changing moods. Kistenyova adds to the list of the great soprano voices one associates with this company. Though here she lacks the carapace of the professional courtesan, her dignity in the face of the insults at the ball and her portrayal of her sacrifice and then of her demise melted all hearts.
The theatre was full but not sold out, with an audience on average twenty years younger than that for Oxford’s only other regular visitors these days, Welsh National Opera. It brings out again that what most opera goers want is traditional productions well-performed and the incompatibility of the two objectives of attracting new audiences with that of giving directors a free hand to pursue their own agendas.