Ellen Kent’s production of this much-loved opera is aided by its sumptuous set and costume design as it relishes its traditional 19th Century roots and delivers a truly musical feast to dine upon. At its heart lies a love story which draws upon Alexandre Dumas the Younger’s real-life doomed love affair with well-known courtesan, Marie Duplessis.
We open with Violetta (Alyona Kistenyova), aided by her friend Flora (Natalia Matveeva) hosting a lavish party where she is introduced by Gastone (Nicolae Cebanu) to his friend, Alfredo Germont (Giorgio Meladze), a fervent admirer, who is more concerned for her failing health than her escort, Barone Douphal (Eugeniu Ganea). When Alfredo declares his love for her, she wonders if he could be the one amidst her desire to be free to live her life.
A year on and Alfredo and Violetta have been living together for some time in an isolated country house. He soon learns from maid Annina (Marharyta Bohachova) that Violetta is having to sell her possessions to maintain them, and he hurries to Paris to sort his affairs. His father, Giorgio (Vitalii Cebotari) arrives and with guile and cunning persuades Violetta to end the relationship.
At a party in Paris, the Marchese (Iurie Gisca) informs Flora that Alfredo and Violetta are no longer together, much to everyone’s amazement. The arrival of Alfredo followed by Violetta with the Baron (Eugeniu Canea) leads to an inevitable confrontation as Alfredo is challenged to a duel. As we are thrust towards our final scene, does an ever-present Doctor (Valeriu Cojocaru) suggest there is time for wounds to be healed? Will our lovers be reconciled when the truth finally unravels? Well, you’ll have to come and see for yourself as this was the opening performance of a UK tour.
There had been a tumultuous 48-hours leading up to this, the opening performance of a UK tour, which almost resulted in a cancellation until visa issue were finally resolved. Unsurprisingly, given the cast had only left Moldova at 4am GMT and with some very last-minute cast changes, the opening was somewhat subdued before springing into life and showcasing the expertise and professionalism of this experienced and talented cast.
Meladze was suitably intense and brooding as the young lover with strong solos equally matched by his emotional duets with Kistenyova, whilst Cebotari presented a more benevolent father, desperate to protect the honour of his family, with his duets with Kistenyova also strong.
In turn, Kistenyova injected passion with her entrancing solos which combined with her duets wrought every ounce of emotion as she showcased her extensive vocal range. I’m a long-term admirer of Kistenyova and although I know this opera well, the emotion of her performance still moved me to tears: bravo.
Kent is ever faithful in her presentation of opera as it was originally intended down to the detail of floral arrangements and a clever use of backdrop and lighting to transform each Act. I especially enjoyed the gentle humour which was particularly well reflected in the matador scene with its superb choreography.
The Orchestra of the Ukrainian Opera and Ballet Theatre, Kyiv, conducted by Vasyl Vasylenko, performed superbly throughout capturing the ambience and mood of the piece at every turn with the heartfelt string section in the final Act particularly moving.
La Traviata is one of three productions touring throughout the UK and Ireland with full details available at www.ellenkent.com. The tour is dedicated to the memory of Sam Shrouder, Ellen’s dear friend and supporter who helped to make much of this possible.
Reviewer: Mark Davoren
Reviewed: 10th January 2024
North West End UK Rating: