Royal Opera House, Covent Garden (studio)
16 January 2017 (released)
22 January 2017
The reason that this production of La Traviata is now on its 14th revival, looking at a summer run, and is the Welcome Performance on 28 January for families that have never been to an opera before, is that it covers all the bases.
It has instantly recognisable and memorable music, fantastic choruses and arias, strong characters and, crucially, an accessible story. It’s also not that long!
Sir Richard Eyre’s and Bob Crowley’s production is lavish but not overwhelming so. The colours and sets are carefully matched. In particular, the second act at the Flora’s party. The deep reds, purples and blacks deftly combine to set off the feral sexual excitement of the Sevillian gypsies dancing, and the harder edges of the gamblers as the odds get ever higher leading to the cold cruelty of Alfredo and the humiliation of Violetta.
It has to be said that the second and opening acts do look busy with some many people on stage and the huge dresses did catch at least a couple of times. This however had no discernible effect on the singing and the ‘Bridnisi’ and matador choruses were first class.
This is an established production and the sets will be familiar to many but tonight was one for debuts and the up and coming.
Principally Violetta sung by soprano Joyce El-Khoury in her ROH debut. This is a truly touching performance capturing the natural minx and intelligence of the courtesan, in the early parts of the opera, and then the tragic TB ravaged figure in the last act, which was sublime.
Not quite matching her was Russian tenor Sergey Romanovsky who sang Alfredo. Technically he was on a par but - and it could be the fact that it was his ROH debut/first night nerves – he appeared a touch strained.
On the up and coming side the ROH’s Jette Parker Young Artists Programme was well represented. Mezzo-soprano Angela Simkin - following her leading role in the recent weird production of Oreste – handled Flora excellently, while two other Programme member’s bass David Shipley and tenor Junghoon Kim as Doctor Grenvil and Gastone de Letorières respectively handled their parts with some confidence.
Not debuting, or up and coming, are baritone Artur Ruciński singing the role of Giorgio Germont. He seemed starched at times though his duets in the second act with Violetta and Alfredo were very moving. Baritone Yuriy Yurchuk singing Baron Douphol was ok in the part. It is just such a very odd looking character, lurking very stiffly around the stage, all deathly and cadaverous.
The orchestration and conducting – Daniele Rustioni another Jette Parker alumni - are as one would expect, being superbly effervescent and able to touch the heart, with ease. Roll on the summer!
Performances 25 and 28 January (the 28th is the Welcome Performance) and 1 February.
Photograph courtesy of Tristram Kenton and the Royal Opera House.
