Back
An affecting Traviata Albany Alice Busch Theater 07/18/2009 - & 20, 26, 28 July, 1, 3, 6, 8*, 11, 14, 16, 20, 22, 25 August Giuseppe Verdi: La Traviata Mary Dunleavy (Violetta Valéry), Ryan MacPherson (Alfredo Germont), Malcolm MacKenzie (Giorgio Germont), Liza Forrester (Flora Bervoix), Damien Pass (Marchese D’Obigny), Michael Krzankowski (Barone Douphol), David Kravitz (Dr. Grenvil), John Rodger (Gastone), Rebecca Jo Loeb (Annina), Steven Brennfleck (Giuseppe), Kevin Wetzel (Commissario), Adam Fry (Servant)
Glimmerglass Opera Chorus, Bonnie Koestner (Chorus Master), Glimmerglass Opera Orchestra, Mikhail Agrest (Conductor)
Jonathan Miller (Director), Isabella Bywater (Scenery and Costume Designer), Terry John Bates (Choreographer), Robert Wierzel (Lighting)
R. MacPherson & M. Dunleavy (© Richard Termine/Glimmerglass Opera)
Glimmerglass last performed La Traviata 20 years ago, and the director then, as now, was Jonathan Miller. The new production (co-produced with Vancouver Opera) is best described as stripped down, both scenically and dramatically, mostly to good effect.
The setting is the era of the work’s creation. Set and costume designer Isabella Bywater has devised scenic elements used throughout the work consisting of gray faux marbre walls. Her designs are a welcome contrast to the visual clutter that frequently makes it difficult to discern the performers in over-the-top, big budget productions. Matching the visual restraint is the director’s encouragement of naturalistic, deliberately anti-operatic acting from the principals. Accordingly, Ryan MacPherson as Alfredo is presented initially as shy and awkward. Later, right at the end, Mary Dunleavy’s Violetta simply fades away in what is probably the most affecting death scene among the many I have seen. Such subtlety would be high-risk in a large space, but in the 985-seat Alice Busch Theater it transmits well.
The soprano and tenor both refrain from singing the few optional high notes we have come to know and love. This practice meshes with the “less is more” approach to the production. Not that their vocal performances are small scale; Dunleavy’s Amami Alfredo is as full-throated as any I have heard, to cite but one example.
A well-informed fan once described the plots of all operas thus: the soprano and tenor want to make love, but the baritone doesn’t want them to. Malcolm MacKenzie sings Germont père using a burly tone that accentuates the character’s role as the “heavy” in the work, despite the two beautiful arias he has in Act II.
For the ballet in the party scene, choreographer Terry John Bates has members of the chorus enacting the ballet (or perhaps faux ballet is a more appropriate term). Instead of having a professional dance troupe perform the brief number, Flora’s party-goers do it themselves. Having non-dancers perform a few simple moves in strict unison is really very effective.
Glimmerglass’s practice of using members of its Young American Artists Program in comprimario roles has the usual good results. Notable among them are Liza Forrester as Violetta’s friend, Flora, and Rebecca Jo Loeb as her maid, Anina. Michael Krzankowski glowers impressively as Barone Douphol.
With its sense of ensemble, this understated production helps give a fresh look to this frequently performed chestnut.
Michael Johnson
|