Review: Welsh National Opera's La Traviata

Review: Welsh National Opera's La Traviata

Posted on: 20 Oct 2023

WNO’s La Traviata: a triumphantly told classic

Verdi’s vigorous score is brought to life by a spectacular orchestra, richly dressed set and fantastic casting; for opera lovers, this is a performance to remember!

Based on the novel La Dame aux Camélias by Alexandra Dumas fils, La Traviata tells the tale of an elegant Parisian courtesan who falls in love and subsequently falls from grace. For many of us, this is a tale made more familiar by well-known musicals like Moulin Rouge! and Les Misérables – although I’m sure some operatic scholars would scoff at the comparison

 

 

Yet, this production of La Traviata brings a new gravitas and beauty to that well-trodden narrative, with a transcendent performance of Violetta from revered Soprano Stacey Alleaume — one of Australia’s most accomplished performers.

Violetta’s mind-boggling vocal range – and her apparent ease in traversing it – is clear from the opening scene: a raucous party at Violetta’s own house, which is decked out tellingly in black lace and gothic trimmings as a nod to her position in society. In this first act, we see the love story unfold between us, as a penniless aristocrat – Alfredo – pursues Violetta, who (to her surprise) finds herself returning his passion.

 

 

David Junghoon Kim was a very emotive Alfredo, he expressed his ardour very effectively with charming tenor tones, which made for a delightful partnership with Violetta’s soaring voice.

As well as the fantastic leads, this production benefits from the huge and talented WNO chorus, who flesh out the story as the chaotic aristocracy and their female companions. One particular highlight in their performance is ‘È Piquillo un bel gagliardo’ – or the ‘Matador’s Chorus’. This number has buckets of innuendo, some of the best costumes in the show and the obligatory dose of can-can, which doesn’t disappoint.

 

 

The orchestra also deserves more than a mention, led by Conductor Alexander Joel, with a beautifully synchronised string section and powerful brass, including one instrument I’d never even heard of: a cimbasso!

Ultimately, this production is a lengthy feast for the eyes and ears. And while Verdi occasionally tests your powers of attention, Sarah Crisp’s direction makes this opera more accessible, building a compelling world filled with three-dimensional characters, even if you only get to witness a snippet of their lives.

Visit The Bristol Hippodrome website to find out more about upcoming shows and book online.

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Article by:

Alys Marshall

Alys is a full-time copywriter, avid reader and podcast enthusiast currently based in Henleaze. As a recent transplant from the North, she’s keen to explore everything the South West has to offer, but is especially interested in exploring the food, art and culture scene in Bristol.