La Traviata
© Glyndebourne Productions Ltd. Photo: Richard Hubert Smith
I often think that the down side of seeing opera can be that over the years one has become so familiar with the stories. Not the music, that does of course become familiar, but it is the element of not knowing the plot or of course the outcome. And even when seeing something for the first time there is the temptation to do a little research in advance, particularly for a person like myself who has scant knowledge of any language other then English. And surtitles, whilst useful, can be such a distraction. But none of this with Glyndebourne’s exquisite and timeless production of La Traviata.
La Traviata is so familiar, music and story, but this Glyndebourne revival is so stunningly well conceived that it feels fresher than fresh – and I have seen the production more than once. Shifting the moment in time to somewhere mid twentieth century allows the work to have a timeless quality, Hilda Bechtler’s strikingly stylish set and costumes could be almost anywhere from the mid 1950s to the present day. Stark interiors reminiscent of minimalist modern hotels and salons, and a palette of colours, limited for the most part to blacks, greys and reds, provides a backdrop for the society women in their couture fashion plate outfits and the men in variations of evening dress, with a smattering of eccentrics and the occasional splash of colour and sparkle of sequins and beads, it all breathes a sense of luxury and privilege into the vision.
© Glyndebourne Productions Ltd. Photo: Richard Hubert Smith
Into this rarified world we find Violetta, the beautiful and exotic centre of attention, loved and admired by all despite the truth that she is a courtesan, upper class yes, but at the core a prostitute. The acceptance of such a woman by polite society might seem odd but there is no denying that the old adage that it is one of the oldest professions known to both man and woman rings true.
In this 2024 revival Violetta is sung by Elisa Verzier. Actually to say sung really does not do justice to this truly magnificent performance. Verzier is a compelling actress bringing the sadness of the role heartbreakingly to life and ultimately death. We see exactly why society has fallen in love with her, both the men and the women, and we the audience surely fall in love with her too. There is a strength in her portrayal but also a fragility too. It is a performance that stands alone as great without even a note being sung… but then from this willowy pale beauty comes a voice so rich and powerful, such clarity and passion, that she takes your breath away. Verzier is truly magical, that power balanced by a purity and fragility in those vital pianissimo moments, well it is heartbreakingly beautiful.
© Glyndebourne Productions Ltd. Photo: Richard Hubert Smith
Her lover Alfredo Germont displays all the naivety and charm required of the provincial lover who falls hopelessly for this society goddess. Matteo Desole delivers a fine performance as does Christian Federici as his father, beautifully sung certainly but not convincing old enough to be his father. Alexander Vassiliev is delightfully effective as a rather work-a-day doctor and Georgia Mae Ellis displays both fine acting and vocal skills as Violetta’s faithful maid Annina.
Conductor Adam Hickox is firmly and finely in control of The Glyndebourne Sinfonia, making the most of those powerfully quiet passages and soaring moments of passion and the chorus are on fine form as always, drifting in an out of scenes as required as the elite society throng, perfectly mannered and at the same time outrageously badly behaved in their privileged world of money and excess.
© Glyndebourne Productions Ltd. Photo: Richard Hubert Smith
This revival, first seen in 2014, is showing no signs of age, a timeless masterpiece of direction from Tom Cairns who delivers La Traviata in a way that has a reality and relevance that surely places it high in the catalogue of Glyndebourne triumphs.
Andrew Kay
13 October
Glyndebourne
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