La Traviata

La Traviata, for a century and a half one of the most popular operas, broke all sorts of rules when it was premiered in 1852. The principal of these was making a courtesan, a fallen woman, a Parisian ‘horizontale’, in other words, a sex worker, an almost saintly heroine. Violetta is the undoubted star of the show and, in the Royal Opera House’s revival of Richard Eyre’s magnificent 1994 production, Aida Garifullina brought all the power of beauty, a soaring voice and a feel for the courage and pathos of the role.

The opera was first seen in London 1856. It had been premiered in Venice in1853, the same year that the nearly as famous Il Travatore was first staged in Rome. Verdi was at the creative height of his long life, living from 1813 into the next century and writing many more remarkable operas. But in Traviata he had the advantage of a tremendous story, based on the dramatization of the Alexandre Dumas fils’ story of a real-life heroine, Marie Duplessis who died of tuberculosis at the age of twenty three, famous as one of the great Parisian courtesans.

Verdi’s choice of this story broke rules because at that time the traditional heroine was an innocent, not, as in the eyes of the church and in the public view of society, a sinner. Indeed Verdi was forced to set back the story in the 1700s to remove it from the reality of the present. But attitudes were already changing and La Traviata soon became a huge hit.

The ROH’s lavish production, designed by Bob Crowley bathes the tragic story in luxury while emphasizing from the start Violetta’s ill health and inevitable death. She may have grand lovers, but she does not have love so that when Alfredo appears, a good, unmarried, young man from the country, she allows herself to be persuaded that love and even happiness could be hers. Francesco Demuro is a convincing Alfredo; his voice takes the arias with clarity and, if he lacks the charisma that Garifullina brings to her role, that seems appropriate enough.

When the pair set up home in the country, disaster walks through the door in the shape of Alfredo’s father, Georgio Germont. The role is never easy. Germont is inspired by love of his daughter whose approaching marriage is threatened by her brother behaviour, and love of his son who he believes is throwing his life away for a wicked woman. He understands only gradually the reality, that Violetta has given up everything for Alfredo,so that when he asks her to leave his son, it will lead to her solitary death. George Petain who sings the role, is not quite equal to the part, although his strong baritone gives a steadiness of intent.

The drama of Violetta’s return to her old life and lovers and Alfredo’s furious public and insulting reaction leads to the heart-rending final act. A dying scene of the heroine is almost staple in romantic opera; it can be cloying or unconvincing, with an uncomfortable sense that the singer is just waiting to jump to her feet and receive applause. Garifullina is much too good for that. She is fighting against her fate, knowing that at last Alfredo understands that she gave him up out of love and self-sacrifice and that he is on his way. But will he come in time?

Great tragic operas like this depend on the emotion engendered by music and song, but also on the visual impact of setting and performers. The premiere of La Traviata was not a success, in good part because the singer was stout and old. The ROH has shown many great singers in the role of Violetta since 1994. Aida Garifullina is equal to any of them. The audience on the night I attended were rapturous in their approval.

La Traviata music by Guiseppo Verdi
Conductor Alexander Joel Director Richard Eyre
Revival Director Dan Dooner Chorus director William Spaulding