Fallen and transcendent— “La Traviata” at West Bay Opera

October 25, 2022

After two years of pandemic-forced closures, West Bay Opera has returned to Palo Alto’s Lucie Stern Theatre, where conductor and general manager José Luis Moscovich opened their 67th season with a glowing production of “La Traviata.”

Verdi’s opera on the love, sacrifices and untimely death of a prostitute met with a hue and cry from the critics of 1853, but was an early hit with the public, particularly among women. The sensitivity of his music humanized a figure that is often scorned.

“La Traviata,” or “The Fallen Woman,” opened with a searching piquancy, high violins teasing out a theme. José Luis Moscovich guided the excellent pit orchestra from that sweet painful texture to a slow intimate waltz. Verdi drifted his hook, enchanting us into this tale of love and death. And then in a quick-change of the music to light-hearted laughter and skirling flutes, Verdi jerked the line and began to reel us in. The curtains rose on a gilded brothel.

The well-known drinking song, Brindisi, followed, introducing us to the two protagonists and to the two sides of their argument. As love-struck Alfredo, tenor Alonso Sicarios Léon raised his glass to “love’s sweet tremors,” and “eyes that pierce the heart.” His voice had a purity that is striking, an effortlessly liquid sound of a tenor in his prime.

Shaina Martinez starred as the courtesan, Violetta, with a rich lower soprano register and highs that had enough edge to cut through the orchestra, all propelled by an open-throated warmth. She took the next verse, replying that life is just pleasure.

And in the following duet, In de Felici, he fully bares his heart to her. “Love is the pulse of the whole world,” sang Léon.

“Forget about me!” Martinez replied. “I cannot deal with such a love… I must always be free, rushing from pleasure to pleasure.”

And although they seem at odds, their music ends in a slow-dance of harmonies, two sides of the same coin yearning towards each other. In this, Léon and Martinez were well-matched, his tones of liquid gold and hers of richest velvet. Gorgeous!

The third pole of the dramatic tension is Alfredo’s father, Giorgio Germont, sung by baritone Jason Duika. His voice was as wide and graveled as river shallows. As he cruelly beseeched Violetta to break off relations with his son, “For God” and “for family honor,” his instrument gave authority to the sanctimonious stance of his ask.

In the intimate acoustics of the Lucie Stern Theatre, this production was all one could ask for, with a great supporting cast and enthusiastic chorus. And the sets by Peter Crompton instantly drew us into the action. However did they shift from the marble colonnades of a brothel to simple country estate and then to chaste bedroom with just a few drapes and art frames?

And that chaste bedroom! After a return of those high haunting violin passages, the long third act is where they all came together to witness her sacrifice of love and a life cut short. Martinez’ “Addio” was a soft and powerful prayer, and her duet with Léon was heart-wrenching. In fact, I’m not sure there were any dry eyes in the house.

Giuseppe Verdi was furious when the Italian opera censors insisted that his new opera be performed with costumes and sets from 100 years earlier. This was presumably to dull the point that Verdi was trying to make with his sensitive portrayal of a courtesan, directly offending the conservative mores of his times. But have times changed that much? I find it curious that each of the three productions I have seen of this opera uses antique dress, the florid costuming of a pre-Verdi era, each again diverting us from understanding our own enablement and sexism. As we grapple with Roe v. Wade, are we once again punishing women for “falling”?

West Bay Opera continues their first full season post-pandemic with Mozart’s Don Giovanni for four performances in February. Mozart in this perfect space with this level of artistry? It doesn’t get better than that! See details at www.wbopera.org.

—Adam Broner

https://www.repeatperformances.org/fallen-and-transcendent-la-traviata-at-west-bay-opera

La Traviata

Posted on October 26, 2022 by cordellreports

As one of the most beloved and most performed operas in the repertoire, virtually any opera lover will know the story line of “La Traviata,” so there are few secrets here.  And in opera reviews, spoilers don’t pertain.  Briefly, Violetta is a courtesan.  Alfredo falls in love with her.  While they are living together, Alfredo’s father Giorgio appeals to Violetta, suggesting that his daughter’s engagement would be compromised if Alfredo married a woman of questionable repute.  Violetta’s graciousness in abandoning her beloved astonishes the initially skeptical Giorgio. Violetta, who has suffered consumption from the outset, dies.

West Bay Opera takes on this war horse, and as one who had already seen six productions of “La Traviata,” you’ll understand why your reviewer approached it with little enthusiasm.  But it’s easy to forget how soaring and melodic Verdi’s music is from curtain to curtain and how it can sweep you away.

West Bay operates with the usual constraints of a small, suburban opera company in dealing with a large production like this.  Additional obstacles derive from their facility – like having a pit inadequate for the orchestra and having to place some musicians in either stage wing.  The outcome of all of these imperfections? – a great success!

“La Traviata” opens with one of its two party scenes, and immediately, the audience is regaled with one of the opera’s myriad of highlights, the brindisi, or drinking song, ‘Libiamo ne’ lieti calici’ (‘Let’s drink from the joyful cups’).  Alfredo must sing in full voice from the outset, and Alonso Sicarios-León, performing the part, brightens up to commence a solid rendition.  He follows with the lead on the beautiful love duet ‘Un di felice, eterea’ (‘One day, happy and ethereal’) and demonstrates not only emotional power often associated with Italianate style, but a textured, rich voice with excellent control of dynamics.  He exhibits many fine qualities that are well suited to tenor roles in the 19th century canon.

Sicarios-León pairs well with his Violetta, Shaina Martinez, who joins her counterpart in the delightful Act 1 duets.  A lyric soprano, she possesses enough edge to give gravitas and strength to her mid and upper range, though her low end lacks similar penetration.  Martinez also demonstrates fine coloratura skills with quick trills and runs in her solo parts.  She offers a well-defined ‘È strano!….Ah, fors’ è lui’ (‘Ah, perhaps he is the one’).  In the ultimate scene, and adhering to one of the conventions in opera that we have come to accept, she belts out with great passion and power her ‘Gran Dio!…morir sì giovane’ (‘Great God!…to die so young’) just before dying from a lung abrading disease!

The impediment to the lovers’ happiness is Geogio, who is portrayed as sympathetically as possible by baritone Jason Duika.  He brings great earnestness to the part, and his singing is smooth and mellow, if slightly cloaked.  He also handles quick patter and his duet with Alfredo ably.  And he delivers his signature aria‘Di Provenza il mar, il suol chi dal cor ti cancellò?’ (‘Who erased the sea, the land of Provence from your heart?’) which is directed at his son with great mellifluous intensity.

Supporting roles are performed with great aplomb as well.  Morgan Balfour as Annina, Jackson Beaman as Gastone, and Joshua Hughes as Grenville were in particularly good voice for this performance, as was the chorus. The graceful ballet dancers choreographed by Kara Davis provide an excellent diversion.

As usual, General Director and Conductor José-Luis Moscovich marshals a fine orchestra and production.  Of course, the party scenes in particular require special attention, and director Igor Vieira ensures their grandeur.  Peter Crompton’s set follows the West Bay template with multiple stage levels, massive columns, and projections that produce considerable scenic detail in two dimensions.  Callie Floor’s costumes give the requisite elegant period look.

“La Traviata,” with music by Giuseppe Verdi and libretto by Francesco Maria Piave is based on the novel “La Dame aux Camélias” by Alexander Dumas fils, produced by West Bay Opera, and plays at Lucie Stern Theatre, 1305 Middlefield Road, Palo Alto, CA through October 23, 2022.