KCMETROPOLIS - La Traviata Review
Love, Loyalty, and Loss at the Lyric: A Successful Traviata
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Posted March 16, 2009
An opera company can do no wrong when programming La Traviata and on Saturday night, Verdi’s number opera adequately amused a Lyric Opera of Kansas City audience of about 1,125. It seems that what held an audience’s attention in nineteenth-century opera houses works just as well for the twenty-first: love, loyalty and loss, combined with miscommunication and betrayal, are still the ticket.
Verdi was a composer (and businessman) keenly aware of how to hook an audience. Perhaps more importantly, though, was Verdi’s pursuit of what might make an opera successful beyond its first run. To that end, and in an age of “disposable” music, he chose stories and wrote accompanying music that proved to be timeless. After his first major success in the 1850s, Verdi went on to compose one masterpiece after another, and his 1853 La Traviata remains wildly popular. And while everyone knows that we lose the heroine in the end (nineteenth-century opera composers certainly would not pass up a good death scene), this well-paced production made for an enjoyable journey to Violetta’s demise.
The trouble with Traviata is quite simply the familiarity of it all. The work contains no shortage of beloved characters and arias, which poses challenges for cast and crew: they must meet listener expectation while infusing this frequently performed opera with some twist or turn—something unexpected to make this Traviata more memorable than the last. This production opened with a sparkling party scene, with a boisterous chorus providing a believable social backdrop to immediately define Violetta’s current way of life. The visual appeal of each scene to follow, thanks to the artistry of Peter Beck’s designs, did not disappoint. The core of each set was the multi-paned window construct, which provided an element of continuity throughout the opera. In fact, some important dramatic effects were achieved via the constancy of this single element, but it was most magical as the backdrop for the final scene. As Violetta lay dying, these windows, part of rather spare and dark scenery now (whereas in Acts two and three they were vivid and reflective), contributed to the shadowy pallor of the room and to Violetta’s ashen face. Adding visual appeal were the costumes, where Mary Traylor’s touch meant lush dresses and jewelry throughout.
No singer was a match for Mary Dunleavy tonight (her closest competition was Lester Lynch’s Germont), and the required vocal acrobats seemed effortless for her. She is also a skilled actress, transitioning easily between Violetta’s lighter, irreverent self and a darker, more dramatic vocal quality. Verdi’s accompanied recitatives let Dunleavy demonstrate her dramatic instincts (early on these passages were for her to wrestle with surrendering to the notion of selfless love), while the more lyrical arias meant extended exploration of this multifaceted character. Dunleavy never missed the opportunity to prove impeccable vocal control (she only suffered one rough release all evening), offering delicious dynamic contrasts and subtle phrase shadings along with an admirable consistency over her wide range (even if it did take until Act two for the voice to sound thoroughly warmed up).
When Giorgio Germont and Violetta meet in Act two, Violetta is already a changed woman—absolved of her past and almost demure—and her vocal style reflects it. Having moved beyond her own needs now, Violetta quietly agrees to give up Alfredo for the sake of the family name, and the moment is a poignant and memorable bit of theater. Lynch literally filled the Lyric with his rich baritone, and he was rendered here as sympathetic and fittingly “fatherly.” Dunleavy and Lynch manage to conjure more of a relationship in this single dialogue than the audience had yet seen materialize between Alfredo and Violetta; Verdi’s affinity for singers does not hurt, and here Dunleavy takes full advantage of the orchestral support to really free up her vocals.
Chad Shelton was at a disadvantage. Most opera-goers, long before the curtain goes up, hold a pre-conceived idea of who they want Alfredo to be. Shelton’s version of this familiar character did not develop quickly and at times his gestures and stage movements seemed affected and unnatural. But another interpretation could dispel this criticism: Shelton did, early on, exude just the right air of desperation to let Violetta know that he had admired her from afar for some time (and she countered with just the right edge to let him know that she was probably not the girl for him). One could actually be led to believe that this slow character evolution was part of Shelton’s plan: Alfredo only gradually becomes secure in his relationship with Violetta, so Shelton did not release the warmth and resonance of his voice until Act three, and then a true leading man emerged from this tenor. In between, Shelton seemed to shine through the more aggressive aspects of his character, even if he lacked sincerity in depicting the softer emotional side of Alfredo. Shelton was absolutely at his best in Act two, confronting the Baron with conviction and cruelly disrespecting Violetta. The hostile sentiment between them (when Violetta asks Alfredo to leave the party) was most compelling.
Typical of Verdi is brilliant ensemble writing and the trios, quartets, and chorus numbers were fantastic. Act three was a high point for the chorus when the boisterous gypsies inserted an element of exoticism, believably engaged in the action. The orchestra was well rehearsed and smartly balanced, but at times was too much competition for the soloists. Dunleavy clearly owned the stage, but the secondary characters were admirably adept as well, demonstrating the strength and depth of the assembled cast. Scott Conner’s Grenvil was appropriately ominous at Violetta’s final hour, and as Annina, Sarah Burke was suitably subordinate and doting.
Once again the rich collaboration of the Lyric staff resulted in a welcome spin to this classic narrative. Kathleen Belcher treated the first two acts as events from Alfredo’s memory, which added a touch of intrigue (but one wonders if maybe Violetta would have remembered things differently). While this may not prove to be a listener’s most memorable Traviata, the accomplished cast and crew gave the audience what they came for: high drama and a few spectacular vocal moments.
Lyric Opera of Kansas City
La Traviata
Saturday, March 14 at 8 p.m. (Reviewed)
Monday, March 16 at 7:30 p.m.
Wednesday, March 18 at 7:30 p.m.
Friday, March 20 at 8 p.m.
Sunday, March 22 at 2 p.m.
Lyric Theater, 11th & Central, Downtown Kansas City, MO
For tickets call 816-471-7344 or online at www.kcopera.org
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