La Traviata – REVIEW
Image: Samantha Clarke as Violetta Valéry, Andrew Moran as Marquis d'Obigny, Angela Hogan as Flora Bervoix and the Opera Australia Chorus in La Traviata 2024. Photo by Keith Saunders
Verdi’s La Traviata is the story of the shaming of a celebrated Parisian courtesan, perpetuated by men entrenched in the patriarchy.
In no version of the opera that I have seen before is this more clearly emphasised than in this co-production by Opera Queensland, State Opera South Australia and West Australian Opera, which is directed by Sarah Giles, with the orchestra conducted by Jessica Cottis for the first half of the season.
Samantha Clarke has captured the very essence of Violetta in every nuance of Verdi’s tragic work, soaring to heights of passion when singing
Everything is folly in this world
That does not give us pleasure.
Let us enjoy life,
For the pleasures of love are swift and fleeting
As a flower that lives and dies
and sinking to the pathos of her dying words
Come closer,
Alfredo, my beloved,
Take this picture of me
In happier days gone by
As a remembrance of her
Who loved you truly.
Under Cottis’ empathetic guidance, the orchestra embraced every colour of Violetta’s voice, providing subtle shading I have never heard before in quite this way.
The rest of the cast was also magnificent.
Kang Wang is a powerful Alfredo, loudly protesting his passion for Violetta but cowering before his father’s demands. Phillip Rhodes is impressive as the patriarch Giorgio, and Petah Cavallaro as Annina, Violetta’s maid, has a beautiful pure tone so suited for her caring role.
Set and costume designer Charles Davis also contributed to the “feminine” feel of this production. His light touch produced simple bright scenery that could be easily changed between scenes, and gorgeous costumes for the party settings.
And the two Opera Australia dancers who gave us the gypsy dance and the Spanish dance were superb in their costumes of red and black with a hat to match.
When the last note was sung, something spectacular occurred, something I cannot recall happening in many many years.
Moved by Giles’ interpretation of the final scene, and indeed the whole opera, the audience rose in a standing ovation that lasted minutes, showing their appreciation for this outstanding new production.
