Reviews
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Weaknesses in La Traviata give way to strong performanceBy Daniel Buckley Flaws and all, Arizona Opera Company's La Traviata packs an emotional and vocal one-two punch. The company's season closer is a great choice a compelling tale of love, sacrifice and death with some of the most tuneful and memorable music in the repertoire. And while there were nicks in the armor at last night's performance, AOC's production of the romantic Verdi tragedy largely lives up to its enormous entertainment potential. The tale pivots around a former call-girl (Violetta) dying of consumption and the man who loves her (Alfredo). Alfredo's father (Germont) begs her to leave his son so that his daughter can marry with honor. Violetta selflessly agrees, breaking both Alfredo's heart and her own. In the end they are reunited, but too late. She dies in Alfredo's arms. Central to any Traviata is its Violetta, and AOC's show had a great one in Sara Seglem. Though she got off to a rocky start (low-register opening material is always a stretch for a soprano, and her initial coordination with the pit was less that seamless) she quickly made plain that she was a force to be reckoned with. Violetta's part is a musical roller coaster full of dazzling leaps, sparkling ornamental flourishes and rapturous lyricism. Seglem made it all sound effortless, not only negotiating its craggy obstacle course hurdles and curvy lines but doing so with power, authority and emotional commitment. As an actress too, Seglem's Violetta was fully rendered and articulately shaded. Violetta's pain and ecstasy rang true even in the balcony, as did all fluxing gradations of emotional states. She deserved and received huge applause form the 1,900 or so attending the Tucson Convention Center Music Hall performance. The case of the cast's Alfredo, James Allbritten was less black and white. Blessed with range, a beautiful instrument and considerable color, he lacked real power and was several times trampled by the orchestra. That said, this is really an opera where a smaller voice in the tenor doesn't necessarily spell disaster. Alfredo is largely a weak character. La Traviata may mean "the frail one," referring to Violetta's medical condition, but she is really the noble anchor of the story. Alfredo's sole manly act is his confrontation with her after she leaves him. And to that occasion, Allbritten rose with wild-eyed, steely intensity. He may not have set the rafters shaking but he too had a way of projecting to the crowd Alfredo's turbulent state. And while the applause for him was less, his performance was far from mediocre. The show's vocal rock was Alfredo's father, played by Theodore Lambrinos. He was perfect in every respect. Authoritative, noble in bearing yet multidimensional he made the character come alive before our eyes. Vocally Lambrinos was peerless, his large, full bodied rich and flawless baritone filling the hall with ease and grace. He deservedly received the greatest applause from the crowd. This is a show to catch!
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La Traviata (Synopsis) |
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