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BY: R. Todd Shuman
OperaOnline.us
Sometimes operas can become so familiar that we forget just how magical and perfect they can be. I have always thought this was the case with Giuseppe Verdi’s 1853 masterpiece “La traviata.” It is only when encountering such a gorgeous production, nearly perfectly sung, such as the production currently in performance at Lyric Opera of Chicago, that we are reminded just how wonderful the “warhorses” can be.
Lyric has assembled a trio of sublime Verdians to take on the leading roles of Violetta, Alfredo, and Germont. In a role that has been sung by every great soprano of nearly every type, Elizabeth Futral proved herself more than capable of singing the demanding role of the courtesan Violetta Valery, taking her rightful place among the great Violettas to be remembered. She easily navigated the treacherous coloratura of the first act cabaletta, “Sempre libera,” and she ran the emotional gamut from steadfast conviction to quiet acceptance in her Act Two duet with the very proper Germont (Mark Delavan, in an outstanding performance).
Ms. Futral was, perhaps, most perfect though in the Act Three death scene where she easily carried off Verdi’s long legato lines while, throughout, breaking the audience’s heart with her superior acting ability. This was, perhaps, one of the most moving death scenes in recent memory.
As Alfredo, rising tenor Joseph Calleja, in his Lyric Opera debut, brought an impetuousness to his characterization of Alfredo, a true headstrong romantic with a bit of a temper. His Act Two aria, “De’ miei bollenti spiriti,” was the song of a young man in love, and he brought a blinding determination to (often cut) cabaletta “O mio rimorso.” His happiness became sheer vengeance in the gambling scene when he cruelly insults Violetta, but he moved quickly to regret in the famous concertato that ends the second act. With his warm tenor voice, Mr. Calleja gave a finely nuanced performance as Alfredo, and, like Ms. Futral, he demonstrated remarkable ability as an actor.
In what appear to be his final appearances at Lyric Opera of Chicago, Maestro Bruno Bartoletti, Lyric’s Artistic Director emeritus who has conducted nearly 600 performances with the company since 1956, led the superb Lyric Opera Orchestra in an evenly paced and finely balanced account of Verdi’s score. Desmond Heeley’s costumes brought the mid-19th century Paris of Violetta and Alfredo to sparking life, while his sets were reminiscent of some of the finest French Masters. Similarly, Christine Binder’s lighting design only served to enhance the production.
While some may scoff that Lyric Opera is ‘playing it safe’ by opening their season with Verdi’s “La traviata,” this is a production that reminds the opera lover what it is all about -- a perfect marriage of words, music and story that was superbly sung and wonderfully acted by some of the finest singers today.
Conduction—Bruno Bartoletti
Stage Director—Frank Corsaro
Set and Costume Designer—Desmond Heeley
Lighting Design—Christine Binder
Chorus Master—Donald Nally
Choreographer and Ballet Mistress—Sara Stewart
La Traviata
Giuseppe Verdi
Lyric Opera of Chicago
October 5, 2007
With Lyric Opera's "Traviata" we are reminded just how wonderful warhorses can be!
