Verdi’s La traviata has been a part of operatic canon for many years, the much loved story of Violetta and Alfredo taking the stage almost consistently worldwide. The melodies are wonderful, and the libretto suitably lavish but it is the story which draws these melodies, quite often rich tragedies, to the forefront of popular culture. As I mentioned in my last review, it appears that Opera Australia’s 2010 theme is a celebration of women characters (whether it is a celebration of women themselves is yet to be seen) though I have seen nothing official to confirm my suspicions to that fact. However, last time I posed Margaret Atwood’s short story ‘Let us now praise stupid women’ against the theme, illustrating that Tosca and Manon both involved a heavy undertone whereby omen fail their lovers and families and everybody pays the price. This is refreshingly not the case with La traviata, a storyline in which the woman gives up everything she holds dear for the perceived greater good. In contrast to the previous performances, La traviata is an opera designed for empathy by the truckload (or should that be wagon load?)
Before I give due time to Violetta, whose performance is the most outstanding of the 2010 season so far, I must mention Elijah Moshinsky’s direction, most evidently wonderful in the Act II, Scene II portrayal of Gypsies and Matadors, wonderful side characters played by the chorus. These men who seemed to carry themselves foolishly, and these women who in their extravagance, overplayed their kitsch, were a wonderful set-up for the final act’s sombre tone. That is all without mentioning the two flamboyant and half-naked men dancing in the background of the scene, a little carried away by their Spanish prowess.
Elvira Fatykhova (as Violetta) is the most poignant character I have seen in an Opera Australia production to date. In her dying minutes, her higher register lost its sharpened edge to the softness of sobbing solitude, and as she stood, gazing into the warm light of morning and contemplating the life she has given up for Alfredo and his father, I was swept away from the melodrama of operatic tradition into what is a beautiful serene moment. Ms Fatykhova, from the moment she appeared in the third act, bedraggled and on her death bed, showed the true versatility which should be required of a dramatic artist, especially with a role of this magnitude; the archetypal fallen woman in distress and in love.
La traviata is playing until March 29th. Visit Opera Australia’s website for more information and tickets
