Review: La Traviata, Royal Opera House, Covent Garden, London, 30 January 2019 – Trouper Rating: *****
Showbiz Trouper doesn’t just like Film and TV. Oh no! So last night, he hotfooted it to the Royal Opera House to see La Traviata. The last time the Trouper saw perhaps Verdi’s most famous opera was where it was first performed – at La Fenice in Venice. This was during the Venice Carnival a few years back and while enjoyable, was not on the scale of the ROH’s production by Richard Eyre. Last night’s performance was quite a sight to behold, especially the first act complete with a stunning set including a spiral staircase.
By the second act, things – as they often do in opera – get more serious. Ermonela Jaho is one of the new batch of opera starlets and managed brilliantly to convey the complex transition from confident courtesan to frail, used and bedridden victim. Charles Castronovo as her would-be beau preens around and holds his own, something of an achievement when his father is played by none other than opera deity, Placido Domingo.
The Trouper had his previous feelings regarding the structure of La Traviata in the La Fenice production confirmed here. Firstly, the glorious melody – Amami Alfredo – which appears so prominently in the overture and which will be familiar to many for its appearance in Pretty Woman – only gets one turn around the block in the libretto. No sooner have you heard it once, than phoof, it’s gone. Other melodies make a return later in the performance but not this one. The Trouper would have had a quick word in Verdi’s ear if he could and advise him to bring this melody back especially towards the emotional end when – hey this opera! – someone buys it.
To hear leading opera hottie Anna Netrebko sing Amami, Alfredo in another performance, click on the link below and shoot along to one minute in.
The second issue the Trouper has with La Traviata is with the second act. It’s too long. And has too many scenes of two people singing to each other. It becomes a bit laboured and the pace slackens. This is a structural thing so not the fault of Eyre of any of the performers who were a joy a watch.
It was interesting how when Jaho came on to her applause, she remained in character, all frail and deathly – OK, sorry, yes, it’s her that kicks it – which is a ploy sometimes used by performers, but sits a little strangely with ST. You’re being applauded now by the audience for your performance. The thing’s over. You’re not actually performing anymore, so take your applause as you, not your character. It was a small thing and eventually she stood up tall and took well-deserved cheers, though the loudest ovation was for Maestro Domingo, in what may turn out to be his last role in an opera at the hallowed Covent Garden venue.
Photo courtesy: Luis Hidalgo