LA TRAVIATA
LA TRAVIATA, Opera Australia at the Joan Sutherland Opera Theatre Sydney Opera House; 30 July-31 August 2013. Photos by Branco Gaica: main - Natalie Aroyan, Emma Matthews and Arnold Rutkowski; right: Jose Carbo.
At 19 years and counting, Elijah Moshinsky's sumptuous, fin de siecle trad setting of La Traviata is still one of the most powerful and spectacular productions in Opera Australia's repertoire. During that time it has featured some of the best sopranos of the past two decades and none better than Emma Matthews.
On opening night, however, in the first act the singers had to contend with an over-enthusiastic conductor in Patrick Lange and a run-away orchestra. The pace was fierce and the volume occasionally overpowering. A diva less experienced than Matthews could have been panicked by the initial riotous racket - and all would have been disaster. But that was averted by singers who seemed to rise above the pit - literally - and get on with it regardless. This despite the oom-pah oom-pah from below that suggested a jolly night of Strauss in Vienna rather than Verdi's masterpiece.
Unknown whether a chill pill was swallowed at the first interval, but the remaining acts were calmer and more reflective. The result was a sublime experience of a soprano at the top of her game both as an actor and singer. Matthews' Violetta is a gorgeous courtesan, moving with flirtatious but knowing ease among her guests; casually aware of the traps and snares set by Parisian society. Falling in love with young Alfredo Germont (Arnold Rutkowski) is not part of a girl's sensible plan and her survival is made instantly perilous by succumbing.
When they retreat to the country - an idyll that cannot last - it is only a matter of time before Alfredo's father comes calling, intent on dragging his headstrong son away from temptation. As Giorgio Germont Jose Carbo is really Violetta's match in every way, however, and if the two were to break out of the story for a moment, it would be no surprise if they were the ones to ride off into the sunset together. Sadly, La Traviata is based on La dame aux camellias and Dumas fils knew a political and social tragedy when he saw one. There is no way Violetta can be permitted to survive her unwitting challenge to polite society.
The scene in the country garden between Carbo and Matthews is heartrending and couldn't be bettered. Their voices are well matched; their physicality and acting are beautifully realised. (Roger Press is the rehearsal director this time.) This time around they help make more sense than usual of Alfredo's ardent but callow youth and - later - it serves to heighten the tragedy of his too-late return from abroad.
The inevitability of the last act is poignant in the extreme through the subtlety and power of Matthews' performance. Sick and kept company only by the faithful Annina (Natalie Aroyan), the empty rooms of the once lavishly appointed Parisian apartment are a potent symbol of the extent of Violetta's reduced circumstances. Matthews feels her way through the decline of hope and life with subtle yet powerful voice and intellect. The absence of melodrama or bathos makes the lovers' reunion a moment of cruel beauty - and it's largely down to the diva's exquisite sensibility.
The design (Michael Yeargan), lighting (Nigel Levings) and costumes (Peter J Hall) are as effective now as they were in 1994 - possibly because they hark back, so deliberately, to a bygone era (of opera design) and with a fine supporting cast the parts make a whole that is tremendously entertaining and satisfying. Can't help thinking, however, that OA boss Lyndon Terracini might be thinking it's time for a new one; and Gale Edwards would be the obvious director to realise it.
