"A successful production of Verdi's Masterpiece" – La Traviata Review

There is much to say for the humanity of this tale, the great music composed for it, and, the vocal and acting prowess of the three main characters ably supported by the other artistes, which contributed to this very successful production of Verdi’s masterpiece.

My title refers to the way this production unfolded. A red cyclorama dominated the background and in the centre of the stage there was this circular, white platform consisting of a number of concentric circles getting smaller and smaller until it stopped in a small flat apex. Puzzled to say the least, I was later informed that it was a pity that from the stalls I could not see that this represented a camellia. That is the flower associated with the story’s tragic heroine and only those sitting in the boxes could make out this. The apex was to serve as desk, gambling table and Violetta’s deathbed. The ladies in the chorus wore no ball gowns and the gentlemen were rather like country gentry not habitués of worldly Parisian salons. However it did not matter at all: the elements in the first paragraph above ensured success. The music, the voices, and the acting carried all before them.

There was none of the luxury usually displayed in Violetta’s opening party scene, or later on in that of Flora’s own party, which to drinking added gypsy dancers, matadors and picadors.

Regarding the latter scene one must congratulate choreographer Pamela Kerr for her excellent use of space especially in the smaller sections of the platform. Her dancers looked comfortable and went through their very well synchronised steps with panache and verve.

The chorus was simply excellent, their entries and were slick. They were on cue, sang with zest in the first scene and a lot of sympathy with Violetta’s humiliation at the hands of her misguided love interest, Alfredo.

Now, for the main characters. The opera “rests” on Violetta and the Germonts: pére et fils. These three principals were vocally well-equipped for their respective roles. Soprano Ekaterina Bakanova was ideally suited as the originally cynical courtesan, yet doomed to an early death and still trying to cling to a life of pleasure allowing nobody to steal her heart.

Her “È strano….sempre libera” was one to remember. She changes dramatically and falls for Francesco Meli’s Alfredo Germont . His ardour already evident in the first scene explodes in Scene 2 in “Dei miei bollenti spiriti”. She ignores warning signs regarding her health and when enjoying her idyllic country retreat, disaster strikes. Giorgio Germont excellently interpreted by Pietro Terranova is not a character I usually like. He appears as a harbinger of doom and hypocrite; with weird ideas and forces Violetta to give up his son. Still Verdi gives him “Pura siccome un angelo and Di Provenza il mar il suol. Giorgio Germont regrets his interference and redeems himself by acknowledging the harm he has done to Violetta. There is a change in which he considers Violetta as his daughter another father-daughter theme Verdi uses in other opera. However too late. Reading his letter on her death-bed Violetta says È tardi!! the man is forgiven, especially via such a warm interpretation.

Verdi has a great penchant for tugging at and wrenching heartstrings. There is more than a portent in both preludes (Acts I and III) so magnificently rendered by the MPO. Here and everywhere the orchestra was on top form and wrought havoc with any resistance to the heartbreak in Violetta’s Amami Alfredo in Scene II as well as in Scene III in her plea Alfredo, Alfredo, di questo cuore…. leading to one of Verdi’s greatest concertati so skilfully built up by Colin Attard and his team.

The secondary characters all acquitted themselves well especially Alan Sciberras as Gastone and Louis Andrew Cassar as the Barone Douphol. Both singers are providentially very talented and deserve to land bigger roles. Their potential is greatly evident.

Once again the drive and energy behind opera in Gozo was very clear. A great word of thanks to ALL sponsors who contributed to the success of this production. Heartfelt thanks too to the many volunteers who work hard and with enthusiasm, dedicating time and energy to help backstage and in various departments. All this for the sheer love of the magic of opera.