The Opera Tattler: SF Opera’s La Traviata

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_DSC2206* Notes * 
A model new manufacturing of Verdi’s La Traviata (Act II Scene 2 pictured, {photograph} by Cory Weaver) opened at San Francisco Opera yesterday night, kicking off a collection of operas by this composer carried out by our new Music Director Eun Solar Kim. The orchestra sounded pretty, however positively extra restrained than in earlier outings of this piece in current reminiscence.

The overture was dealt with fairly effectively by Maestra Kim, everybody sounded very stunning, the tempi weren’t excessively quick. There have been moments with the refrain specifically the place there have been points with synchrony. The offstage bandas in each Act I and Act III sounded good and collectively. The strings have been beautiful in Act III, as Violetta dies.

There have been six former Merolini on this opera, so quite a lot of acquainted faces and voices. Most notable of those have been mezzo-soprano Taylor Raven (2016) as a sympathetic Flora Bervoix and bass-baritone Philip Skinner (1985) as a somewhat terrifying Baron Dauphol.

_DSC2038For the three most vital principals we had three San Francisco Opera debuts. Baritone Simone Piazzola had a lush heat as Giorgio Germont, the correct combination of sternness and fatherly care. He sang each “Pura siccome un angelo, Iddio mi diè una figlia” and “Di Provenza il mar, il suol chi dal cor ti cancellò?” very effectively, the latter caught with me as a spotlight of the night. Tenor Jonathan Tetelman (Alfredo) had a really fairly second within the Act I duet “Un dì, felice, eterea,” however had an inclination to yell his excessive notes in any other case, he would not appear to have good management of his quantity. Most fascinating was the Violetta, soprano Fairly Yende. Her singing in Act I appeared a bit delicate and icily metallic, however she introduced unbelievable pathos to Acts II and III, and the resonances of her voice labored very effectively for her duets with Germont and Alfredo. I discovered her “Gran Dio!…morir sì giovane” on the very finish significantly arresting.

This new staging from director Shawna Lacey seems very very like her Tosca from 2018, and it is no surprise that the set designer, Robert Innes Hopkins, is similar. I do want that that they had taken this chance to make the scene change in Act II smoother, it actually took quite a lot of time to vary the set from Violetta’s nation home to Flora’s get together, and the viewers didn’t calm down shortly sufficient when the music began once more. The contrasts between the saturated, nearly lurid colours of the get together scenes with the others have been stark.

The realism of intercourse, violence, and sickness all through have been unsettling. The courtesans do some nineteenth century model of twerking at Flora’s get together, the Baron does appear harmful and scary, and having Violetta cough all all through the piece was efficient. There was some colourful cross dressing in Act II Scene 2 from the Marquis, who wears a pink tutu along with his tuxedo tails and from the dancers who had bisected costumes portraying masculine and female night put on on all sides. Violetta does look genuinely sick within the final act (pictured, {photograph} by Cory Weaver) and this solely added to how distressing the top is.

* Tattling * 
The viewers was enthusiastic and the truth that this efficiency was simulcast to the close by baseball stadium certianly heightened the thrill. I did hear a cellular telephone ring home left on the Orchestra Stage as Fairly Yende sang “È strano! … Ah, fors’ è lui” in Act I. Additionally, the particular person in Row Q Seat 3 saved crinkling a plastic bottle firstly of Act II Scene 2. Although I felt aggravated by these disturbances, it’s type of good that issues are a lot again to regular.

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