Rebecca Latham
Richard Eyre’s production of Giuseppe Verdi’s La Traviata makes a comfortable return to the Royal Opera House for its 20th anniversary. Even for audience members who are fresh to the staple opera, La Traviata retains a familiar air that disrupts some of the possible magic that could be achieved with a more adventurous exploration of Violetta Valery’s tragedy.
German soprano Diana Damrau sang the role of Violetta, the fallen woman, in a successful Royal Opera debut. For much of the opera, Violetta is ruled by a facade she imposes upon herself: she feigns wellness in the face of the tuberculosis that is devouring her.
When joined by friends she masks her pain and projects a carefree hedonistic persona. In Act I, she throws a lavish party for scores of guests that is brimming with excess. Damrau thrusts about the stage in a melodramatic manner that is dizzying to watch. Within the first act, Violetta’s desire for opulence is smothering; it feels indigestible like something jagged caught in the throat.
From the second act, Violetta locates some honesty within and strives to live a domesticated life instead of one driven solely by pleasure. Damrau’s performance became more nuanced and illustrated Violetta as a character that is defined in equal parts by her fragility and courage.
Damrau was supported by a more than capable cast: Sardinian tenor Francesco Demuro gave a strong performance as Alfredo that marked him as Damrau’s equal. Russian baritone Dmitri Hvorostovsky sang the role of Giorgi Germont in what I consider to be the most interesting performance of the night. Hvorostovsky succeeded in delivering a performance that gently swung between severity and grace; his elegance on stage went unmatched. Emotional climaxes on stage were enhanced by the delicate leadership of Israeli conductor Dan Ettinger who did a fine job commanding the orchestra.
One of the more interesting aspects of the production was the impressive 19th-century Parisian opulence that set designer Bob Crowley replicates. At times the grand scale dwarfs the actors but not necessarily to poor effect. One gets the sensation that the imposing set illustrates the weight of duty that Violetta feels crushed by. The ruby and metallic colour scheme of the party scenes are stunning, and in turn the final scene is marked with a stark whiteness that has a cleansing effect.
La Traviata is a tale of all-consuming love and tragedy that sits comfortably within the realm of the expected. Richard Eyre’s production is commendable and in moments of dramatic climax it flourished, yet its familiarity is a tad disenchanting. Duty to convention is perhaps the source of dissatisfaction, much like the fallen woman herself.
La Traviata is playing at the Royal Opera House until 20 May. For more information and tickets, see the Royal Opera House website. Photo by Royal Opera House and Catherine Ashmore.