As the curtain rose, the ethereal sounds of Verdi's Prelude echoed through the aged Opera House and we see our heroine, Violetta Valery (Lissette Oropesa), clad in a miraculous blue dress being tended to by her Doctor (Andrew Bogard) indicating her fatal illness, consumption. The potpourri prelude provides a glimpse into the roller coaster ride of the this story, and the production at Opera Philadelphia did an amazing job of capturing the hue of the blues that Violetta would be expressing in such as sickly state, as well as paint a backdrop to story itself.
The first scene of this delectable story features one of the greatest scenes in all of Opera, the Brindisi, otherwise known as the Drinking Song. This melodious waltz not only brings together the cast, but also introduces the famed courtier Violetta to the man who fell in love with her from a distance, that is Alfredo Germont, played by the young tenor Alek Sharder. Here the production at Opera Philadelphia truly performed quite brilliantly. Among the backdrop set in what appeared to be the 1950s, we see a merry gang of party goers, raising their glasses in a toast to life and love. But when the drinking gets to be too much for Violetta she sinks down and the ensemble exits leaving her alone with Alfredo who sings the remarkably chilling duet "Un Di, Felice." One happy day, Alfredo sings, you walked into my life filling the void. Although Violetta insists that they remain friends, because the notion of falling in love at first sight is simply silly, his words seemed to strike a chord with her.
For some reason despite what she knows in heart to be the truth, Violetta was clearly moved by Alfredo's declaration of love and a strange thought comes over her, and she sings sort of two back-to-back-arias that show the conflicting nature of her feelings. On the one hand, she loves the idea of being with Alfredo and feels the sincerity of his words and expresses that in the first part of the aria "Ah, fors' e lei', but on the other hand, she knows that the thought is just nonsense, and expresses that in the remarkable cabaletta to the aria, "Sempre libera" or always free. One can almost hear how she pushes Alfredo away in music, as he is heard in the ally way continuing to sing the love duet from afar. Lisette Oropesa, who apparently was singing the role of Violetta for the first time, did such an amazing job with this crucial part of the story, one would almost think that the role was written for her. The audience literally had chills when she hit the high E flat that stated her profound opinion on love.
The first scene of this delectable story features one of the greatest scenes in all of Opera, the Brindisi, otherwise known as the Drinking Song. This melodious waltz not only brings together the cast, but also introduces the famed courtier Violetta to the man who fell in love with her from a distance, that is Alfredo Germont, played by the young tenor Alek Sharder. Here the production at Opera Philadelphia truly performed quite brilliantly. Among the backdrop set in what appeared to be the 1950s, we see a merry gang of party goers, raising their glasses in a toast to life and love. But when the drinking gets to be too much for Violetta she sinks down and the ensemble exits leaving her alone with Alfredo who sings the remarkably chilling duet "Un Di, Felice." One happy day, Alfredo sings, you walked into my life filling the void. Although Violetta insists that they remain friends, because the notion of falling in love at first sight is simply silly, his words seemed to strike a chord with her.
For some reason despite what she knows in heart to be the truth, Violetta was clearly moved by Alfredo's declaration of love and a strange thought comes over her, and she sings sort of two back-to-back-arias that show the conflicting nature of her feelings. On the one hand, she loves the idea of being with Alfredo and feels the sincerity of his words and expresses that in the first part of the aria "Ah, fors' e lei', but on the other hand, she knows that the thought is just nonsense, and expresses that in the remarkable cabaletta to the aria, "Sempre libera" or always free. One can almost hear how she pushes Alfredo away in music, as he is heard in the ally way continuing to sing the love duet from afar. Lisette Oropesa, who apparently was singing the role of Violetta for the first time, did such an amazing job with this crucial part of the story, one would almost think that the role was written for her. The audience literally had chills when she hit the high E flat that stated her profound opinion on love.
In Act II, Verdi skipped some time, about three months, and we find out that Alfredo's persistence worked and he and the lovely Violetta are now living comfortably in the country. Alfredo sings of his happiness in the aria "De mini boleti spiriti" one of Shrader's better pieces of the performance as his voice was quite remarkable but no where near the strength of his counterpart, Violetta. To that end, oftentimes in the bigger numbers of the duet of the previous act, he was eclipsed by Oropesa's genius. In this opening number of the act, however, we see a charming young man who clearly is in love with Violetta and brilliantly conveyed in the aria.
The scene quickly moves from joy to sadness when Alfredo's father Giorgio Germont arrives with some sobering news. Played by the Philadelphia native, Stephen Powell, this part of the production truly shined. Powell was a remarkable older Germont who laid down the deal that Violetta must leave Alfredo so his angelic daughter will be able to marry. Apparently the news of Alfredo's romance has led the suitor of Germont's daughter to question the marriage due to the scandalous affair. Promising to embrace Violetta as a daughter he convinces her to leave Alfredo a "Dear John" note and abandon the only happiness she has ever experienced in her life.
When Violetta leaves and Alfredo receives the letter he is crestfallen, but comforted by his father who sings the remarkable "Di Provenza il mar" Once again Powell's powerful baritone voice echoed through the hall showcasing a tremendous amount of tough love and genteel consoling. Despite his efforts to let his son see that this affair was only an ephemeral joy that would not last, Alfredo was desperate to return to Paris and win back the love of his life.
Alfredo enters scene two, where Violetta has returned to her old courtier ways hosting a fabulous party and being escorted by Baron Douphol played by another Philadelphia native, Daniel Mobbs. Alfredo was green with jealousy and bullies his way into a card game with the Baron. Despite the intensity of this scene the ensemble of this production carried out an amusing party scene that provided a jocular account of the sex-capades that occurred at these type of soirées. The brilliant scene had a kaleidoscope of color from the ladies of the night dressed in an array of bright colors to the amazing lighting design of Paul Hackenmuller. In addition the ensemble further created the intensity of the scene as Alfredo gets into a fight over Violetta.
The scene quickly moves from joy to sadness when Alfredo's father Giorgio Germont arrives with some sobering news. Played by the Philadelphia native, Stephen Powell, this part of the production truly shined. Powell was a remarkable older Germont who laid down the deal that Violetta must leave Alfredo so his angelic daughter will be able to marry. Apparently the news of Alfredo's romance has led the suitor of Germont's daughter to question the marriage due to the scandalous affair. Promising to embrace Violetta as a daughter he convinces her to leave Alfredo a "Dear John" note and abandon the only happiness she has ever experienced in her life.
When Violetta leaves and Alfredo receives the letter he is crestfallen, but comforted by his father who sings the remarkable "Di Provenza il mar" Once again Powell's powerful baritone voice echoed through the hall showcasing a tremendous amount of tough love and genteel consoling. Despite his efforts to let his son see that this affair was only an ephemeral joy that would not last, Alfredo was desperate to return to Paris and win back the love of his life.
Alfredo enters scene two, where Violetta has returned to her old courtier ways hosting a fabulous party and being escorted by Baron Douphol played by another Philadelphia native, Daniel Mobbs. Alfredo was green with jealousy and bullies his way into a card game with the Baron. Despite the intensity of this scene the ensemble of this production carried out an amusing party scene that provided a jocular account of the sex-capades that occurred at these type of soirées. The brilliant scene had a kaleidoscope of color from the ladies of the night dressed in an array of bright colors to the amazing lighting design of Paul Hackenmuller. In addition the ensemble further created the intensity of the scene as Alfredo gets into a fight over Violetta.
The final act is welcomed again by a prelude that features the fading and lonely violin, which is meant to convey the fading Violetta who is now nearing death. The Opera Philadelphia production set Violetta in bed which was once again against another remarkable lighting design. The blues return and as the music fades to the scene and the lights too begin to fade as a light blue in the bedroom focuses on Violetta. The doctor comes to inform Violetta's maid Annina (Rachel Sterrenberg) that she only has a few hours left and desperation ensues.
At this point, Violetta pulls out a letter from the older Germont which explains that Alfredo wounded the Baron in a duel and left the county. Feeling sorry for herself, Violetta sings the pathetic aria "Addio, del passato" meaning farewell to the past, farewell to smiling dreams. As Oropesa sang this incredible piece a tear welled in my eye, as she so moved me with her tremulous tone. Following this dramatic number, Alfredo enters to account for the hope for Violetta who gets a second wind on the promise of a new life with her one true love. The love duet is heard in the background as Violetta franticly tries to get out of bed, but at the moment of ecstasy and hope, she falls into Alfredo's arms and dies. The universal and somber trombones ominously play three notes to indicate her sure death and the show ends.
There are obvious historical aspects of this story based on the life of Alphonsine Plessis, also known as Marie Duplessis or the Lady of the Camellias. While Piave's libretto clearly was borrowed from Dumas play, there are other historical peculiarities presented in this remarkable show. Giuseppe Verdi was composing operas during one of the most tumultuous times in European History. One the surface, La Traviata is a tragic love story that has profoundly touched the lives of anyone who has even seen or heard it. It certainly stands on its own for this aspect, but underneath the surface, Verdi provides something much more complex than a simply tragic love story.
During the mid-nineteenth century Europe exploded into war in the fateful year of 1848. Italy at this time was not a united county and desperately wished to be. Verdi himself was a supporter of the revolutionary movement. Under the leadership of Giuseppe Garibaldi and Giuseppe Mazzini, the revolutionaries overcame the Austrian leader Ferdinand II and established a republic in 1849. Less than year after the establishment of this republic, Pope Pius IX with the aid of Louis Napoleon of France destroyed the government and power was restored to the conservative Habsburg's in Austria.
These events also clearly inspired the work of La Traviata, which premiered in 1853. What seemed to be the perfect love story of two people who were destined to be with one another was tragically ended by a terrible disease called consumption. In a way, Italy too had finally realized her dreams under the Republic of 1849, but once it was established and actualized, it too quickly died because it was 'consumed' by a larger, higher power. As previously noted, Verdi was a big supporter of the liberation of Italy, and when he composed this work, it is evident that the death of Violetta is synonymous with the death of the republic.
Bravo to the cast of La Traviata in Opera Philadelphia. I was wholly impressed by this unique and remarkable production, and glad to write about the experience. I look forward to other productions at Opera Philadelphia this year.
At this point, Violetta pulls out a letter from the older Germont which explains that Alfredo wounded the Baron in a duel and left the county. Feeling sorry for herself, Violetta sings the pathetic aria "Addio, del passato" meaning farewell to the past, farewell to smiling dreams. As Oropesa sang this incredible piece a tear welled in my eye, as she so moved me with her tremulous tone. Following this dramatic number, Alfredo enters to account for the hope for Violetta who gets a second wind on the promise of a new life with her one true love. The love duet is heard in the background as Violetta franticly tries to get out of bed, but at the moment of ecstasy and hope, she falls into Alfredo's arms and dies. The universal and somber trombones ominously play three notes to indicate her sure death and the show ends.
There are obvious historical aspects of this story based on the life of Alphonsine Plessis, also known as Marie Duplessis or the Lady of the Camellias. While Piave's libretto clearly was borrowed from Dumas play, there are other historical peculiarities presented in this remarkable show. Giuseppe Verdi was composing operas during one of the most tumultuous times in European History. One the surface, La Traviata is a tragic love story that has profoundly touched the lives of anyone who has even seen or heard it. It certainly stands on its own for this aspect, but underneath the surface, Verdi provides something much more complex than a simply tragic love story.
During the mid-nineteenth century Europe exploded into war in the fateful year of 1848. Italy at this time was not a united county and desperately wished to be. Verdi himself was a supporter of the revolutionary movement. Under the leadership of Giuseppe Garibaldi and Giuseppe Mazzini, the revolutionaries overcame the Austrian leader Ferdinand II and established a republic in 1849. Less than year after the establishment of this republic, Pope Pius IX with the aid of Louis Napoleon of France destroyed the government and power was restored to the conservative Habsburg's in Austria.
These events also clearly inspired the work of La Traviata, which premiered in 1853. What seemed to be the perfect love story of two people who were destined to be with one another was tragically ended by a terrible disease called consumption. In a way, Italy too had finally realized her dreams under the Republic of 1849, but once it was established and actualized, it too quickly died because it was 'consumed' by a larger, higher power. As previously noted, Verdi was a big supporter of the liberation of Italy, and when he composed this work, it is evident that the death of Violetta is synonymous with the death of the republic.
Bravo to the cast of La Traviata in Opera Philadelphia. I was wholly impressed by this unique and remarkable production, and glad to write about the experience. I look forward to other productions at Opera Philadelphia this year.