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Veiled by the Haute Couture Melbourne
Regent Theatre
05/08/2026 - & May 9, 10, 12, 13, 14, 16, 2026
Giuseppe Verdi: La traviata
Stacey Alleaume (Violetta Valéry), Filipe Manu (Alfredo Germont), Andrii Kymach (Giorgio Germont), Angela Hogan (Flora Bervoix), Iain Henderson (Gastone), Richard Anderson (Baron Douphol), Anthony Mackay (Marquis d’Obigny). Shane Lawrencev (Doctor Grenvil), Jennifer Black (Annina) Jin Tea Kim (Giuseppe) Johnathan McCauley (Messenger), Johnathan Alley (Servant)
Opera Australia Chorus, Paul Fitzsimon (Chorus Master), Orchestra Victoria, Giampaolo Bisanti (Conductor)
Sarah Giles (Director), Claudia Osborne (Revival Director), Charles Davis (Set & Costume Designer), Paul Jackson (Lighting Designer)
S. Alleaume, F. Manu (© Courtesy Opera Australia)
During renovation of the State Theatre, Opera Australia has relocated to the historic Regent Theatre to present their 70th Anniversary Melbourne Season. Originally built in 1929 as a cinema in an ornately palatial style with Gothic lobby and massive Louis XVI style auditorium, it is listed as a treasured historic building. Closed and decaying for decades, it was revived in the 1990’s and reopened as a live theatre. This re‑purposing commendably saved from ruin an outmoded mammoth, but embeds several limitations including the lack of a fully submerged orchestra pit and a shallow stage, making transfers from the more commodious Sydney Opera House difficult scenically and meaning that the orchestra is completely visible in front of the stage. While not entirely negative features, the latter means that the conductor has not only to direct the performance but guard against the orchestra dynamically overwhelming the stage performers which occurred to a minor extent on this opening night.
Director Sarah Miles has set the opera in an unspecified period which leaves it to the imagination to determine. Costumes suggest something of the late 19th Century and light fittings and furnishings in Violetta’s apartment hint at the transition into Art Deco. Designer Charles Davis has devised a three‑roomed view of Violetta’s residence: it is an opulent place clearly costing a fortune and Violetta’s emergence from the disarray of an unmade bed, occupied by the Baron Douphol, makes it very clear from the outset how all this luxury is afforded. The bedroom is divided from the Salon and after that an anteroom is also open to view. Despite Violetta and the Baron being otherwise occupied, the Salon is filled with party guests and the lavish costume design resembles an haute couture runway. The limitation of stage dimensions caused this scene and the later one at Flora’s party to become very crowded but the ensemble moved with precision to mitigate this.
Australian soprano Stacey Alleaume is Violetta. Stunningly beautiful, prodigiously endowed as an actor and possessing a voice of immense richness and colour, she inhabits the role completely, making the courtesan a real woman and not the ethereal decorative beauty so many of her admirers and patrons see. This is vital to our understanding of the role of women in the patriarchy of Parisian society of the period – to understand that she sees both sides of the life she leads and is drawn to the alternative Alfredo offers. Ms Alleaume’s vocal talents are exceptional; she took the “Sempre libera” with effortless ease, floating upper register ornamentation and seamlessly blending richly burnished lower voice. Her performance made this a most memorable rendition of the audience’s favourite opera. Ms Alleaume’s extensive OA repertoire is testament to the esteem in which she is justifiably held by the company.
Tenor Filipe Manu hails from Australia and New Zealand. Studies in NZ and the UK have seen him perform in many of the great opera houses and this is his second outing for OA. In the first Act it seemed that his voice was light and the stage direction given him for the character – somewhat reticent, perhaps a little shy – may have accentuated this along with the vast expanse of the orchestra in front of the stage. It the second Act however, he was fully in command as the fury of the Party Scene at Flora’s home unfolded. His voice is an agile and precision instrument as demonstrated to great effect in his rendition of “Dei miei spiriti” which received well‑deserved acknowledgement from the audience. As a partnership in performance, Alleaume and Manu exude an on‑stage chemistry that makes this reading of the characters plausible and endearing.
Ukrainian baritone Andrii Kymach has previously appeared for OA as Don Giovanni and Escamillo. His is a glorious voice; commanding, gentle, infinitely controlled and subtle. His every appearance as Germont was magnetic. An accomplished actor and a towering presence on the stage, Mr Kymach made the tormented role of the desperate father one of great pathos and endearment. In ensembles, his stentorian instrument is skilfully blended with fellow performers; in solos, his performance is riveting, superbly nuanced and richly coloured. This was a superb night for Mr Kymach and the audience reaction to him was genuinely thrilled.
Maestro Giampaolo Bisanti brings a wealth of experience and expertise from the major opera houses to his engagement with Orchestra Victoria for OA. The audience knows Verdi’s score well and it is no easy work to breathe new understanding and fresh appeal into such an established audience favourite. Almost 50 players in the orchestra are on full display due to the configuration of the Regent Theatre. So too is the conductor in full view for the entirety of the performance, so we have a unique opportunity to examine in detail the subtle control and delicate balancing feat that the musical leader exerts. Maestro Bisanti drew deeply contrasting varieties of tone and hue from his players and held the many a cappella elements of the score in tight rein for his singers. Orchestra Victoria sounded magnificent and the appreciation of the audience was palpable during the curtain calls.
As an audience pleaser, La Traviata will always rate at the top of the list. It offers an opportunity to hear again a favourite at the same time as introducing a whole new generation to the art form. Judging by the mixed age and enthusiasm of the opening night crowd, Opera Australia has scored very well with this revival of a visually stunning production.
Gregory Pritchard
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