Violetta: Norah Amsellem; Alfredo: José Bros, Giorgio Germont: Renato Bruson; Flora Bervoix: Itxaro Mentxaka, Annina: Maria Espada, Baron Dauphol: David Rubiera, Dr. Grenvill: Lorenzo Muzzi. Chorus and Orchestra of the Teatro Real, López-Cobos. Production: Pier Luigi Pizzi. Opus Arte.
This Traviata takes place in an Art Deco context of decadence, greased hair parted on the side, outfits a’là Gatsby and the presence of Fascist insignia. The opening scene reveals the interior parted into two rooms resembling the interior architecture in proportions suitable for the lobby of a railway station or some other space anticipating large congregations. The visual impression, which mostly reduces the colour palette to creamy white and black produces an environment which could be described as impersonalized, opulent and decadent. On the left side is Violetta’s boudoir with her private bathroom, and on the right is her salon where her party guests are indulging in sensual pleasures.
There is a detail which is controversial to my personal taste. It is the scene in the first act where we encounter a character, a guest at Violetta’s party, dressed in a military uniform, swastika on the forearm band, leather boots, etc. He sits on the floor with a woman, supposedly having a good time like everyone else. Of all men he is the only one sitting on the floor. This detail is dramatically unclear. Other than placing the event in a narrower time frame than can be accomplished by architecture and clothing he bears no relevance to this Traviata. These symbols are historically too raw and painful and far too charged with layers of meaning to be left as a casually thrown-in detail which bears no other meaning. The other controversial thing is why he is sitting on the floor. For a member of any uniformed force, when in uniform there is a code of conduct to be observed in public and private gatherings. Sitting on the floor at a party would not be a part of acceptable conduct. Perhaps having him sit on the floor was a value-charged statement by the director but it is not sufficiently clear and not well woven into the fabric of the story. In any event the golden rule of Stanislavski’s dramaturgy is that if there is a rifle hanging on a wall hook in the play, it has to be shooting in the play. Otherwise there is no place for the rifle on the wall in such a play. In this case this member of the Nazi army does not amount to anything more than a purposeless gun on the wall, which amounts to nothing more than flirting with heavily charged symbols. And flirting with the Nazi insignia in art is a superficial and irresponsible act.
The second act takes place in an interior which resembles a Scandinavian furniture display room in white and a gorgeous shade of blue-tooth blue. The stage designer probably intended Bauhaus, but there is a scent of Ikea-like freshly furnished space far too clean in lines, that it actually does not invoke the targeted period.
The scene with the gypsy festivities and the matador’s dance and song is set in a bacchanal ambiance suitable for the orgy of a Roman Emperor. I would agree with some other commentators of this production that it fails to trigger the excitement and awe it meant to.
The details of the costumes are styled in proportion to the details of the set with a delicate touch in dressing Violetta and bringing up the beautiful body curves and youth of Norah Amsellem in the role of Violetta.
Ms. Amsellem, apart from being a gracious and beautiful young woman, is a good singer. What I miss in her portrayal of Violetta is passion, a feverish readiness to surrender. Her voice, although not incapable of nuance and from a technical standpoint well controlled and measured, lacks emotional depth and breadth. Her high notes are sharp and spiky but there is no fire in them. On occasions she is lagging in tempo and her expressiveness is controlled at the expense of the underlying emotion. Wait till the very end and you will see that Ms. Amsellem, though, is most gracious, emotional and sincere recipient of the applause. It is a treat to see her at bow.
Whoever was in charge of make-up for the role of Violetta deserves to be mentioned for a delicate task accomplished with excellence.
José Bros as Alfredo has carried out his role in singing and acting with and blended well in into the whole project. Renato Bruson in spite of his age and relying on a masterful technique has done equally well as father Germont.
Maria Espada as Annina is the best Annina in all the Traviatas I have ever heard or seen. Her radiant, fragile and vibrant bell-like quality of voice combined with a youthful persona gave a fresh appearance to this small and usually overshadowed role. Ms. Espada gave a delicate and touching quality to this young maid who helplessly watches the tailspin of a human tragedy unfolding in front of her eyes.
The orchestra under the conductor Jesus López Cobos from time to time seems to be carried away with their own show and too many times overrides the singers. The overall sound is more suitable for a military brass band than a melodramatic plot such as La Traviata.
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