Charlene Baldridge Photo by Ken Howard |
La Traviata
at Santa Fe Opera
Santa Fe, Saturday, August
17, 2013 – Last night we drove up the freeway for the final of this season’s
five-opera Santa Fe experience, Giuseppe Verdi’s La Traviata, produced by Santa Fe Opera (SFO). The production
itself, by Laurent Pelly (direction and costumes) with scenic design by Chantal
Thomas, premiered at SFO in 2009. This year’s production, give or take a few
scenic elements and musical cuts, is conducted by Leo Hussain.
Brenda Rae, Michael Fabiano and Company Photo by Ken Howard |
The production itself so
screams for attention – Look at me! Look
at me! – that I would like to ignore it temporarily and concentrate on the
principal singers; each having earned the right to shout and scream look at me, and each admirably game when
it comes to Pelly’s outlandish, exuberant and downright odd staging. I am happy
to say that Francesco Maria Piave’s text, based on Alexandre Dumas’ 1848 novel,
La Dame aux Camelias, prevails
despite the distractions. No matter the underlying implications or implied
profound meaning in Pelly’s staging of the death scene, Violetta’s lover,
Alfredo Germont, still arrives in time (or does he?) and Violetta still dies
(assuredly), but alone. I suppose it’s up to each onlooker to decide what that
means other than automatically assuring the diva first place in the order of
curtain calls.
Papa Georgio Germont
(baritone Roland Wood) is stiff, but that is a given of the role no matter the
terrain (a mountain goat the baritone is not) or directorial intervention.
Additionally Pelly’s stage direction often puts the Germont père on the other
or upside of a chasm (I’ll explain later), not conducive to musical ensemble in
that the all-important continuo is lost. Wood has a darkly covered baritone,
but when he lays the gruff cover aside at the conclusion of “Di provenza…” as a
singer must do, he achieves gorgeous high voice.
Brenda Rae and Michael Fabiano Photo by Ken Howard |
A 2005 SFO apprentice
singer, tenor Michael Fabiano (Alfredo Germont) is an agile actor with an
impressive, sincere ardor and a fine voice with gleaming top tones. He rids the
role of the petulance so frequently observed.
As Violetta Valéry, soprano
Brenda Rae is adept as Pelly’s Act One party girl, the essence of which is the
arms-over-the-head-means-of-showing-abandon school of histrionics. Perhaps it’s
not subtle, but the soprano wears the persona intent on pleasure and her hot
pink flounces as well despite the unsubtle pallor of her illness. Verdi’s music
helps, especially Violetta’s “Ah, fors’ è lui /Sempre Libera,” exceptionally
sung, tonally accurate and mostly crisp on Friday night. To prove it’s good for
something the hands-in-air technique was cleverly employed to prevent applause
between the “Ah, fors’ è lui” and “Follie!” sections.
The Thomas-designed
production places Violetta’s and Flora’s homes and even the countryside estate
in magnified cubist terrain. Violetta’s wild after party takes place on a
mountainous heap of packing crates or granite or marble slabs of various sizes.
Again, it’s up to the eye of the beholder to decide the symbolism. There are
walkways and steps between the monolithic cubes. In the country, the boxes
become modified to resemble pieces of the sky wherein the ecstatic Violetta and
besotted Alfredo dwell, unfortunately on her dime. Georgio arrives while
Alfredo is in Paris, and persuades the dying Violetta to leave his son by way
of sacrifice to save his family’s honor. She departs for a party at Flora’s
In Flora’s house the
packing crates are disguised as gambling surfaces, where the angry Alfredo
throws his winnings at Violetta in retribution for what he believes is her desertion.
In the deathbed scene the
boxes are covered with white sheets and Violetta’s bed, a former slab, is set
downstage slightly left of center. Rae’s is not the clearest nor most affecting
letter reading ever heard, but otherwise her singing here is fine, as is
Fabiano’s. Earlier in the evening, he ably performed “De’ miei bollenti
spiriti” and she, a lustrous “Addio del passato.”
Pelly interpolates scenes
and changes others at will. The performance begins with a funereal procession,
umbrellas straight out of Wilder. During Violetta’s orgiastic party, she
removes Flora’s (Jennifer Panara) panties before copulating with Alfredo. She
passes out, and when the guests depart she wakens to find Alfredo gone — a clue
to begin her marathon series of arias, truncated here.
Regardless of this critic’s
opinion of the Pelly production, Friday’s
audience enthusiastically received La Traviata. It receives an additional
performance on August 22. The season closes August 24.
Plan to attend SFO’s 2014
season, comprising Carmen, Don Pasquale,
Fidelio, a double bill of The Impressario
and Le Rossignol, and the world
premiere of Huang Ro’s Dr. Sun Yat-sen.
Go to http://www.santafeopera.org
for more information