A Consuming Opera – La Traviata

Opera North opted for a more controversial opening to its 2014 production of La Traviata, a video of a bronchoscopy: Ellen Kent preferred the opulence of a society party in one of Paris’s up-market salons!

Sometimes people like the obvious and, in that respect, Kent always delivers, rather than the arty farty alternative where some Artistic Director can be heard to whisper: “I’ve got a great idea,” only he or she thinks so!

The tragedy of death by consumption – in case you hadn’t already guessed, ON’s bronchoscopy was a subtle reference to one of Verdi’s La Traviata themes, tuberculosis - is something that preoccupied nineteenth century writers and composers, particular Verdi and Puccini, meaning that opera is not always for the faint hearted, especially those having a bad day!

This time-worn but ever popular classic, mild by modern day standards but once the scourge of Venice's censors, is said to have inspired the Hollywood movie, Pretty Woman, largely responsible for catapulting Julia Roberts to fame.

It is set in the opulence of 19th century Paris, where courtesan Violetta Valery (Alyona Kistenyova) peddles her wares among the great and good of high society.

Along comes Alfredo Germont (Georgi Meladze), they fall madly in love, move in together and then Mr Germont senior, Giorgio (Iurie Gisca), has a quiet word in Violetta's ear. Could she disappear into the ether she's bringing the family name down and tarnishing a few reputations by sticking around. Oh yes, and don't tell Alfredo that I told you: our little secret!

Lots of upset follows, there’s a big making up, regrets are verbalised and our courtesan cum heroine, is redeemed on her death bed as she splutters her last breath. Curtain down.

Tenor Meladze, Lieutenant Pinkerton in Madama Butterfly just 48 hours ago, moved from cad to devoted lover with a simple skip from Puccini to Verdi. Great voice but a face of stone that rarely gives anything away about the passions he is singing about. I sometimes want the opera stars to play a bit more to each other, not just stand, face the audience and let ‘em have it! In that respect they could learn a lot from musical theatre.

This time bass, Valeriu Cojocaru, as the ageing Doctor, was perfectly cast: not so as last night’s young, thrusting Lieutenant of Dragoons, Zuniga!

The great strength and weakness of opera companies of a certain size – we were watching the Ukrainian Opera and Ballet Theatre, Kyiv – is that they are ‘tight’ because they are a true company of travelling troubadours, however, with that comes a static turnover meaning players, particularly principals, often grow old together unless there is a strong ‘guest artiste’ regime. That, I fear, is what appears to happen at one end of the Kyiv company where, sometimes, players are miscast, usually by age in the absence of a younger, more suitable performer.

Nevertheless, there cannot be many companies that can deliver Elena Dee on a Friday (Madama Butterfly), Natalia Matveeva on a Saturday (Carmen) and then the wonderful Alyona Kistenyova on a Sunday.

La Traviata marks the end of my Ellen Kent hattrick – Puccini, Bizet and Verdi in less than 72 hours.

It’s been great fun. Vasy Vasylenko conducted brilliantly with all his might and, despite periodic misgivings or technical hitches, it’s been great and, as always, I doff my hat to this company of professionals who give their all to bring opera to the masses.

Top marks to the Ellen Kent troubadours: workers to the end, each and every one of them!