
‘La Traviata’: A Brilliantly Realised Production Of A Classic

The tragic tale of Violetta Valéry returns to the Opera House with a new revival season of La Traviata. Its performances, orchestration and set design make it easy to see why this is one of the most performed operas in history.
In case you’re not familiar with this tale, Violetta (Samantha Clarke) is a Parisian noblewoman with an affinity for the party life who has been suffering from tuberculosis. When Alfredo (Ji-Min Park) professes his love for her, the two move to the countryside and are madly in love. However, Alfredo’s father Giorgio (José Carbó) soon comes knocking, threatening to end their passionate love affair.
Samantha Clarke returns from the 2024 season of La Traviata as Violetta, every bit as impressive as she was when we reviewed the show last year. Clarke takes full advantage of the way the show centres her character with a remarkable performance on both the vocal and physical fronts. With her remarkable soprano voice at the forefront of the show, the tragedy of Violetta is both seen and felt every moment she’s on-stage, made all the more bittersweet by her single moment of happiness.
The stagecraft that’s gone into this production of La Traviata also conveys Violetta’s euphoria and isolation. Despite the centuries-old setting, the show still feels relatable to the modern day. Whether it’s feeling overwhelmed at a party or getting asked an absurdly unreasonable request, both Clarke and the show’s direction contribute to the tragic heart at the core of this opera, often dipping into a more surreal framework to convey elements of the narrative.
La Traviata‘s excellent ensemble
Ji-Min Park is similarly excellent as Alfredo, Violetta’s love. Park has played the role numerous times before, and his experience shines through in an extremely powerful performance. Practically a second lead of the show, Park perfectly conveys the boundless love and harrowing heartbreak that Alfredo goes through across the story, flawlessly slotting into Clarke’s vision of Violetta.
Giorgio is portrayed with similar gusto by José Carbó, an excellent performance that is surprisingly sympathetic given what the character asks of Violetta. Carbó makes Giorgio feel genuinely apologetic for what he’s asking of his son’s lover, but nonetheless pushes on with his requests. It’s certainly no surprise when he feels even greater remorse as the play ends, but you do feel his sincere anguish thanks to Carbó.
The ensemble cast are expectedly excellent too, and the sheer level of coordination on display during this production of La Traviata consistently impressed me. It should also come as no surprise to say that the orchestra under conductor Johannes Fritzsch is in top shape during the show, embracing the show’s moments of whimsy and tragedy with equal vigour.
This revival production of La Traviata is highly appealing to both those who have seen the opera before, or those who are yet to experience it. For both the uninitiated and experienced opera enjoyer, it’s a delightful way to experience the story of Violetta with a top-notch cast, orchestra and sense of craft that live up to a highly prestigious history of performance.
La Traviata is playing at the Opera House until March 27th.
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