Composed by Giuseppe Verdi. Libretto by Francesco Maria Piave.
Epic soaring music and a feminist re imagining, Verdi’s legendary tale of love and redemption returns to the Opera House
Reviewed by Claira Prider
Joan Sutherland Theatre, Sydney Opera House
Until 27 March 2025
Tickets: https://opera.org.au/productions/la-traviata-sydney/
Type: Opera,
If you liked: Blockbuster operas; Tosca, La Boheme, Don Giovanni
Composer Giuseppe Verdi had a knack for taking relatable, often marginalised characters and bringing them centre stage, and La Traviata is no exception. Written and set in 1853, the intimate story revolves around the highly sought after ‘grande horizontale’ courtesan who’s considered fallen by society for achieving social and financial independence through prostitution. Holding a mirror up to the misogynistic and hypercritical sexual politics so prevalent at the time, the work was poorly received at its’ premiere not just for the morally dubious themes, but because the music contained waltzes and polkas which were associated with booze and pleasure and moral corruption at the time.
La Traviata tells the story of Violetta Valeri (Samantha Clarke). She knows she’s dying of consumption and having never thought herself capable of love, is torn between the desire to be free and independent or following her growing love for the adoring Alfredo Germont (Ji-Min Park). After choosing love, Alfredo’s dad shows up at their country home and bullies her into ending the relationship for the sake of his family name. Furious and devastated, Alfredo thinks she left him for the party lifestyle before his Dad confesses his actions and Alfredo returns to Violetta’s side in time to see her take her final breaths.
The curtain lifts to Charles Davis‘ towering set; we see inside Violetta’s elaborately detailed, grand home. Tall ceilings, patterned wallpaper and mahogany, ornate furniture, upholstered in plush fabrics with gilded embellishments fill the stage. The set allows us to see into much of the home at once including Violetta’s bedroom, the ballroom next door, and a narrow entrance next to that.
Directed by Sarah Giles, production is almost cinematic in that it creates clear focus shifts facilitated by lighting, and movement, such as the chorus ensemble freezing in movement and creating tableaux moments when not singing during “Libiamo, ne’ lieti calic”. Giving the audience insight into multiple rooms concurrently gives us a sense of the bigger picture, having context of the mask Violetta puts up in public, and the emotionally vulnerable, ill woman we see in private. There’s not a moment in this production where I feel unclear about what is unfolding or where my focus should be.
The role of Violetta isn’t just vocally demanding, but also requires great depth of character understanding to present her as human and facing complex challenges without falling into the melodramatic and unrelateable. In a league of her own, Clarke is deeply human and vocally superb, she’s a profoundly moving Violetta. From the rapid-fire, fioritura passages of “Sempere Libera” to the agonising, introspective pain of “Addio Del Passato”, Clarke’s vocal performance is emotionally charged and extremely refined. Her clear, bell like tone is warm and resonant, even as she portrays Violetta’s breathless exhaustion as she nears her death with great believability.
Park’s singing in the first act feels strained at times, with intonation issues and little connection with Violetta. There are scenes where his pacing across the stage feels driven by the director rather than emotion or reason, however he warms into the role as the production unfolds, singing a particularly charming “De’ miei bollenti spiriti” in Act II. Veteran to the role, José Carbó returns as Giorgio Germont. His rich, mellow tone and beautiful legato vocal line highlight the grounding stillness he brings to the stage. Carbó’s characterisation has the tendency to feel stiff, at times missing opportunities to explore the duality in Giorgio’s huge character arc. The trio are capably supported by a particularly sultry Angela Hogan as Flora Bervoix, Richard Anderson as Baron Douphol and Catherine Bouchier who brings great chemistry and drama to the role of Violetta’s maid Annina.
As Violetta, Clarke is deeply human and vocally superb, she’s a profoundly moving Violetta
Director Sarah Giles says La Traviata has so much to say to us about our current gender politics and our society, what sort of women we think are worthy of “redemption” and happiness and how they should behave.
In an interview with Samantha Clarke, she talks about what makes this production so different; “Sarah [Giles] is really about that internal struggle and showing that and highlighting it for the audience.” Her direction highlights Violetta’s struggle by going against what the music is doing, particularly noticeable in her aria “Sempere Libera” which is filled with musical fireworks, bouncy and up-beat motifs, yet we see Violetta’s deep internal struggle in wanting to make the right choice for her future.
The creators of this production have given it a non specific era setting to imbue the timeless themes and to highlight the lack of change (or undoing of positive change) we’ve seen around women’s rights in recent decades. The costumes range from maids in period attire and men in top hats, to 19th Century corseted bodices and layered petticoats, to contemporary shapes and fabrics. This performance seems to have turned down the sex considerably from the productions’ 2022 season in Perth. While using sex to sell opera tickets usually bothers me, in this production, the unapologetic horniness and enjoyment of sex from the females on stage is what instantly solidifies the sense of female liberation which in moments feels missing from the chorus ensemble on opening night. Regardless, in highlighting Violetta’s personal challenges and suffering by allowing us to see her private vs public persona, and by occasionally directing action against the nature of the score, the production successfully engages the work through a feminist lens.
La Traviata showcases some of Verdi’s most glorious music. Filled with so many hits (even recognisable to non-opera lovers), love and death and some truly incredible singing, this production makes for wonderfully entertaining night for both opera newbies or opera lovers alike.
Not a Theatre Thought, but cool Fun Fact: La Traviata is filled with some smash hit bangers which you may recognise from the following: Heineken beer ad, during Priscilla Queen of the Desert, during Pretty Woman and this Nissan car ad.
Conductor Johannes Fritzsch (23 Jan–15 Feb), Paul Fitzsimon (18 Feb–27 Mar)
Director Sarah Giles
Set & Costume Designer Charles Davis
Lighting Designer Paul Jackson
Violetta Valéry Samantha Clarke (23 Jan–27 Feb), Lorina Gore (1–27 Mar)
Alfredo Germont Ji-Min Park (23 Jan–10 Mar), Iain Henderson (12–27 Mar)
Giorgio Germont José Carbó (23 Jan–27 Feb), Luke Gabbedy (1–27 Mar)
Flora Bervoix Angela Hogan
Gastone Virgilio Marino
Baron Douphol Richard Anderson
Marquis D’obigny Luke Gabbedy (23 Jan–21 Feb), Alexander Hargreaves (25 Feb–27 Mar)
Doctor Grenvil Shane Lowrencev
Annina Catherine Bouchier
Giuseppe Jin Tea Kim
Messenger Jonathan McCauley
Servant Malcolm Ede
Opera Australia Orchestra
Opera Australia Chorus
