La Traviata

January 27, 2025 by Alan Slade
Read on for article

An opera review by Alan Slade

The last time this avid operagoer heard a collective audience intake of breath on the first note sung by a soprano was the 1965 performance of La Traviata when Joan Sutherland let out her first note just before the well-known Brindisi.

It happened again in the Sydney Opera House January 23 performance of Opera Australia’s new production of the world’s favourite opera.

The set, designed by Australian award-winning Charles Davis, was brilliantly suited to the raunchy new production by Opera Queensland, State Opera South Australia and West Australia Opera, enabling the mood for the coming events to be established during the overture,.

The curtain went up and we see Violetta receiving payment on completing her latest assignation with a gentleman in a bedroom on the left of the stage with the ballroom in the centre and entrance foyer on the right.

At the end of the prelude, Samantha Clarke uttered a note before joining the throng. Her voice resonated through the theatre accompanied by the collective audience intake of breath. It was a portent for what was to follow.

She led the Australian Opera chorus (who were in superb form) in the Brindisi, ending with rapturous applause and cries of “Brava”.

It was the first time I have seen the conductor applaud a performer.

Alfredo, Violetta’s admirer, sung by South Korean tenor Ji-Min Park was significantly overshadowed in their initial duet, in both voice and acting, however he recovered in Act 2 and during the remainder of the opera.

Samantha Clarke is the British-born, now Perth resident, winner of the 2019 Guildhall Gold Medal and prize winner in the 2019 Grange International Festival Singing Competition. She is undoubtedly headed for greatness in her chosen field. Her performance in La Traviata was perfection in every sense. Her acting, stage presence and voice combined to give the audience an opera experience was beyond expectations.

The entire cast, although overshadowed by Ms Clarke, was superb, and the opera chorus was world-class. Argentinian Jose Carbo as Alfredo’s father Giorgio was convincing, both vocally and acting, as were the other principals. The stage sets were brilliantly designed, enabling seamless transition between acts, with the walls and backdrops noiselessly relocated so that the ballroom transformed into the country villa, then the Parisian Flora’s home and finally Violetta’s bedroom.

Even the principals’ costume changes were done on stage. Director Sarah Giles’ imagery enhanced the mood of the most dramatic scenes, with Giorgio’s daughter and future husband walking in the rear of the stage as Giorgio pleads with Violetta to release his son, and the vision of Alfredo in the final act as Violetta laments his leaving her.

German-born conductor Johannes Fritzsch, former chief conductor of the Queensland Symphony Orchestra and principal guest conductor of the Tasmanian Symphony Orchestra, certainly brought out the best of the Australia Opera Orchestra.

At the all-too-soon conclusion of this wonderful season-opening performance, the entire audience rose to give the cast and orchestra, joined by director Sarah Giles a well-deserved standing ovation.

Speak Your Mind

Comments received without a full name will not be considered
Email addresses are NEVER published! All comments are moderated. J-Wire will publish considered comments by people who provide a real name and email address. Comments that are abusive, rude, defamatory or which contain offensive language will not be published

Got something to say about this?

This site uses Akismet to reduce spam. Learn how your comment data is processed.

Discover more from J-Wire

Subscribe now to keep reading and get access to the full archive.

Continue reading