Verdi: La Traviata
Orchestre e Coro del Teatro La Fenice / Lorin Maazel
TDK DVD DVWW-OPLTLF (146 m)

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This production marks the November 2004 re-opening of La Fenice after a devastating fire that destroyed the theatre. La Traviata was chosen because of its special connection to this theatre, where it had its premiere in 1853. Initially it was not a success, leading to substantial revisions by Verdi. For this revival, a new scholarly edition was commissioned, based on the original score, which has been locked away in the theatre's archives for nearly 150 years. The result is a fascinating performance well worth watching. The chief pleasure is the singing. Patrizia Ciofi's portrayal of Violetta ranks as one of the finest in recent years. One could argue that her essentially lyric voice lacks the solidity and projection in the middle and lower range for Acts 2 and 3. But her singing is so full of chiaroscuro, her acting so nuanced and touching, that one can overlook the minor vocal blemishes. In Act one, her severe hairstyle and harsh lighting makes her look old – this courtesan has been around the block! It works well with the youthful, wide-eyed Alfredo of Robert Sacca, who sings quite beautifully. As the elder Germont, Dmitri Hvorostovsky is in a role tailor-made for him. However, the tessitura in the original version is very high, and he occasionally sounds thick-voiced and effortful. The supporting cast is competent rather than distinguished. Also of interest is the stage direction of Canadian Robert Carsen. The opera opens with Violetta posing provocatively in bed, and her various 'clients' come in, showering her with American bills. Some may find the overt portrayal of Violetta as a prostitute problematic. In Act two, the stage is literally covered with greenbacks, some cascading like autumn leaves. The action is updated to around late 1970's, with everyone in gaudy modern dress. Alfredo is a photographer who has been admiring Violetta at a distance. Act 3 gambling scene takes place in a nightclub, with the gypsy dancing sequence turned into a lowbrow cowboy-showgirl routine. No bed in Act Four for poor Violetta, who has to read the letter and dies standing up. In any case the fine singing makes up for any deficiencies of the production. The La Fenice orchestra plays strongly under the experienced direction of Lorin Maazel. Highly recommended. Joseph K. So

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