Verdi - La Traviata
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Movie Reviews of Verdi - La Traviata
Movie Review: The Definitive La Traviata
Summary: 5 Stars
This LA production of La Traviata is the best I've seen so far.
The modern trend of opera productions often starts from a minimalist and avant garde approach. The La Fenice production of 2004 and the Salzburg production of 2005 are clear evidences of the new approach.
May be European audiences love new packaging in their operas (after all, these are `their' operas). As a foreign member of the operatic audience, I only wish that opera productions would stick with the script more in terms of staging and costumes, etc.
Having saw the La Fenice and Salzburg productions before this LA one, I must congratulate the producer Mr. Domingo for bringing this production to live for the benefit of worldwide viewers instead of the connoisseur few.
As for the performance itself, while I fully agree that the Salzburg production boasts of a wonderful Violetta in Ms Netrebko, I would still prefer Ms Fleming's as being more convincing with a transcendental portrayal that uplifts the character of this courtesan to a more humanistic level.
Violetta Valery knows her illness right from the start of the story. Netrebko's portrayal has more postmodern recklessness in it than would otherwise be present in Verdi's script. Her coloratura in Sempre Libera is less than fine, but her voice is superb. Ciofi's Violetta is simply vocally pale by comparison to the other two. Fleming's Violetta, on the other hand, boasts of a three-fold strength - the right voice; not plangent as Netrebko's but `just right' for the character. The three Acts fittingly treated in different moods with the right variations in timbre. She has the right look, too. Renee's reduced waistline is astounding to any woman of her age. A result of vast efforts at the gym, doubtless. While Ciofi lacks the beauty of this great courtesan, Netrebko (and Gheorghiu) have too much of health and youth (Netrebko in particular, too full-cheeked and healthy through and through) that missed the underlying consumption. Perhaps only Anna Moffo rivalled Fleming in terms of having the right `look' for this character. Then lastly, of course, vocal technique. I have heard Fleming in some vastly inferior recordings. Those were the bad OLD days. Since the beginning of 2007 I have only heard and saw a wonderful operatic soprano whose acting and singing techniques are both hard to beat by any other currently on stage. Well-nigh 50 yet reaching prime after prime vocally! This IS some thing to be reckoned with - can new-comers guarantee this sort of endurance is the next interesting topic to watch out for. Granted that music, like any other art form, ripens with age and experience, a soprano in such top form and with such an curriculum vitae as Fleming bespeaks of a highly disciplined lifestyle resultant from great respect for her art. Such accomplishment really deserves nothing less than admiration and fullest respect from audience and colleagues alike.
So much for Fleming.
Rolando Villazon also shows great improvement from his Salzburg 2005 performance. The voice is much more meaty, his demeanour much more self-assured. There is no longer that `Mr Bean' sort of childishness around him as evident in the 2005 version. This Alfredo is both appropriately debonair and impetuous in turn. If Rolando is able to keep his voice up to this level, he will surely gain his place as being the best Alfredo since Nicolai Gedda.
Then last but not least, the portrayal of Bruson as Germont Sr. By far the best ever to be seen on stage, if not `heard'. I agree that the voice is used - to say that he is 70 years old but the voice is not used would be a clear lie. Again, the universal `old wine' theory - the voice is passably good, still adequate for the role, but his artistry and stage presence on the other hand are both immense. Compare his Germont Sr. with Hvorostovsky and Hampson. The La Fenice production is simply hilarious in getting a vocally superb but otherwise awkward and stiff Hvorostovsky to `play' this role. In their respective productions, both Hampson and Hvorostovsky could not get into the character in the same way as Renato Bruson does here. The imposing encounter in Act II with Violetta demands strengths of character in the portrayal that have to be brought home clearly to audiences in order for them to understand why Violetta is being convinced. Bruson is imposing without being pompous (like Hvorostovsky), insistent without being harsh. His `lecture' to his son in that famous aria is at once vivid and moving.
In conclusion, this is THE definitive La Traviata on DVD, and one really need not look further.
Movie Review: From a skeptic: this production excels in every way
Summary: 5 Stars
With so many La Traviata DVD's available that feature "superstar" sopranos (Edita Gruberova, Angela Gheorghiu, Anna Netrebko to name but three), I popped this one into my DVD player with some trepidation. After all, Renee Fleming, beautiful though her voice is, has been known to turn a Verdi aria into a jazz number. And Rolando Villazon is a wonderfully expressive tenor, but has a tendency to overact and can wear you out with his flailing about onstage.
I'm happy to report that my concerns were unfounded. As Alfredo, Villazon is in even better voice than he was in the 2005 Salzburg production of Traviata with Netrebko. He has also toned down his physical movements; his acting is an asset here, not a distraction.
Fleming is dazzling as Violetta. I think the reason she sometimes jazzes up 18th and 19th Century opera is that she can do anything with her instrument; this is a unique and special ability that unfortunately has sometimes led her to make the wrong style choice. Here, however, she sings Verdi as I assume the master intended. She pays careful attention to phrasing and is faithful to the score, yet also sings with abandon, making Violetta truly her own. That combination of the seemingly contradictory qualities of control and abandon are what, to me, make for great opera singing. (Those same qualities also describe the unique sound of many Verdi scores.) Fleming brings the house down before she can even get to the famous, "Sempre Libera," by turning "Ah! Fors'e lui" into such a bittersweet and moving contemplation on the possibility that love has finally found her, that her exquisite trills at the end will make your spine tingle.
Some people were disappointed that Dmitri Hvorostovsky bowed out as Germont in this L.A. Opera production and was replaced with Renato Bruson. Bruson does a fine job and, in fact, I was disappointed with the usually superb Hvorostovsky when he played Germont in the La Fenice 2004 production of Traviata. He was strangely stiff and remote as the concerned, if overbearing, father. He seemed uncomfortable as Germont (which, of course, may not have been the case two years later in this production). Nevertheless, the veteran Bruson brings the right balance of sternness and fatherly love to the role.
Call me old fashioned, but I love Traviata with lush sets and period costumes. If you do too, you'll drink in the sights here.
I've decided that I don't need to find the definitive DVD of La Traviata. Violetta is such a multi-layered character upon whom Verdi has made such varied vocal demands that I like to savor the highlights each soprano brings to the role: Gruberova's vulnerability and how she seems to literally fade away as she sings "Addio del passato"; Gheorghiu's powerful and heartbreaking cry, "Amami, Alfredo," in which she turns a few short musical phrases into a stand-alone aria; Netrebko's spontaneity and charisma. And now I can add Fleming to that list. She sings every line with clear intention; not a note is thrown away. Precision and abandon. It's a dazzling performance.
Movie Review: Perhaps the most moving Traviata ever
Summary: 5 Stars
I will admit to having some doubts about this performance before viewing it. First, several years ago, I gave a glowing review to the DVD and CD of the performance under Solti, finding Angela Gheorghiu to be the definitive Violetta. Second, I have been less than satisfied with some of Renee Fleming's recent performances on CD, finding them to be mannered and self-indulgent. Well, all my misgivings were rendered unwarranted. This performance is a knockout.
Admittedly, Renee Fleming has become "larger than life," to the point that it is not always possible for her to disappear inside her roles; you always know that you are watching the great Renee. But that fact did not diminish her performance, at least after getting past the first act (which for me is merely warm-up for the second and third acts, which, on their own could be the greatest opera ever). She sang with glorious, refulgent tone throughout, but never let it get in the way of her making a dramatic impact.
Rolando Villazon just about matches Ms. Fleming both in beauty of tone and dramatic intensity. He may be the most believable Alfredo on video. And the chemistry between the two leads is palpable.
La Traviata is by far my favorite opera and I have heard and seen it hundreds of times. Nevertheless, this performance left me in tears. Admittedly, Marta Domingo directs with all the subtlety of a sledgehammer, and her costume and set designer follows her lead. But such is the magic of the performances by the two leads that if I could have only one recording of the opera, I would choose this one, despite the outstanding work of Angela Gheorghiu in her Covent Garden performance. Renee Fleming gives an equally moving and perhaps even better-sung performance, and Rolando Villazon and Renato Bruson are FAR superior to Frank Lopardo and Leo Nucci (even though, like Nucci, Bruson has passed the point at which he can give a performance worthy of his talent).
This DVD is ESSENTIAL for any opera-lover's collection.
Movie Review: Musically superb, eye dazzling traditional performance...
Summary: 5 Stars
Beside countless recordings, there are over a dozen video releases of La traviata, one of Verdi's most popular and beloved operas. So far I have always considered Solti's DECCA performance from the Covent Garden as a benchmark, but this live DVD issue from LAOpera is a worthy competitor indeed.
As a response to Willy Decker highly original, iconoclastic, powerful and intense Salzburg performance with Anna Netrebko, director Marta (Mrs Placido) Domingo has
chosen a traditional approach but done with immaculate taste, gorgeously colorful sets and costumes. Even she makes, however some minor departures such as the 1st act being set in a roof garden and the sudden, but to me uncalled for appearance of a masked death like figure in the 3rd act. No offence meant, but I feel that these polite changes really mean nothing and done for the sake of doing something different.
Musically speaking, James Conlon's unerring sense of tempi and inspired conducting
provides excitement you can feel throughout and no other American soprano could be
more ideally suited for the title role than Renee Fleming. Her ability to throw herself into the part
with total emotional commitment and her vocal artistry in this very demanding role makes her performance a stunning success. Her partner, young Mexican tenor Rolando Villazon (also appearing in the Salzburg DVD) with
his strong, clear voice, dramatic and passionate acting is an instant audience favorite.
Perhaps he will be a possible heir to the tradition of Pavarotti and Domingo. Third in this exceptional trio is Renato Bruson, who at 71 is already a legend creating a stern, elegant and ultimately a very sympathetic Germont Pere with his powerful, expressive velvety baritone.
Excellent choice for traditionalists, but do not pass by the Salzburg set either.
Movie Review: The best production of "La Traviata" yet.
Summary: 5 Stars
Verdi - La Traviata
I always tell my friends if they have never seen an opera, "La Traviata" is the best opera to start with. I personally went to see this production of "La Traviata" at LA Opera and I was very impressed with. The direction of Marta Domingo is very impressive and memorable. Renee Fleming's superb dramatic soprano voice is perfect for playing Violetta. For me she is the queen of the opera today. She was not only singing, but also acting as well. Rolando Villazon has portrayed one of the best Alfredo's. His voice and charisma reminds me of Domingo's. The love between Alfredo and Violetta is so true on a stage that you will easily get involved with the story line. Before when the lead singers were overweight it was very hard to convince us that they were in love. In the real story of La Traviata the main characters supposed to be in their early 20's and that really shows in this wonderful production. I was also mesmerized to see how the chorus sang in the background. The great direction of Mrs. Domingo gives the chorus a new look and life of its own. Back in the days when the lead was singing the entire chorus would look at the singer. In this production the chorus would do different things and they are all individuals. In a moment you will think you are watching a movie instead of a life opera. You will fall in love with these beautiful characters in this one of the greatest operas ever written.