This is the last article you can read this month
You can read more article this month
You can read more articles this month
Sorry your limit is up for this month
RICHARD EYRE’S acclaimed production of Verdi's most popular opera returns to the Royal Opera House 25 years after its premiere in 1994.
Based on the semi-autobiographical play and novel La Dame aux camélias by Alexandra Dumas fils, La Traviata follows the tragic love affair between famed courtesan Violetta (Hrachuhi Bassenz) and admirer Alfredo (Liparit Avetisyan).
Set in 19th century Paris, vibrantly brought to life by Bob Crowley's set, the three acter sees our heroine throw a lavish party at which Alfredo declares his love for her - a declaration initially dismissed by Violetta, who cannot see room for true love in her fun-filled life.
However by the second act the two lovebirds are living together in a country house outside of Paris, but their honeymoon is destined to be doomed following a visit by Alfredo's father Giorgio Germont (Simon Keenlyside).
With Alfredo absent, Giorgio demands Violetta end their relationship, insisting that it is bringing shame on the family due to her notoriety as a high class prostitute, and she reluctantly concedes.
In a fit of jealousy and pain, Alfredo suspects that she is in love with her former lover Baron Douphol (German E Alcantara) and disgraces himself by confronting and humiliating her at a party back in Paris.
In the final act, a real feat of set design with giant venetian blinds spanning the height of the stage, Violetta is on her death bed with tuberculosis. After finally learning the real reason for her leaving him from his father, Alfredo is reunited with Violetta for one final duet before she dies in his arms.
This much revived production deserves many plaudits, not least here for a show-stealing performance by Bassenz, whose Violetta is pitch perfect from her double aria in the finale of Act I to her poignant realisation of lost dreams in the final act.
Avetisyan's Alfredo is equally strong in the famous brindisi drinking song - Libiamo ne' lieti calici ("Let's drink from the joyful cups"), although a less convincing actor; there are times in the more tragic moments where you wish he'd display more pathos.
Keenlyside is also a memorable Giorgio as he switches from the austere and stern harbinger of sorrow to the compassionate and remorseful paternal figure by the end. And nobody could fault Crowley's spectacular set, no doubt helping to ensure that they'll be many more revivals to come.
You can’t buy a revolution, but you can help the only daily paper in Britain that’s fighting for one by joining the 501 club.
Just £5 a month gives you the opportunity to win one of 17 prizes, from £25 to the £501 jackpot.
By becoming a 501 Club member you are helping the Morning Star cover its printing, distribution and staff costs — help keep our paper thriving by joining!
You can’t buy a revolution, but you can help the only daily paper in Britain that’s fighting for one by become a member of the People’s Printing Press Society.
The Morning Star is a readers’ co-operative, which means you can become an owner of the paper too by buying shares in the society.
Shares are £1 each — though unlike capitalist firms, each shareholder has an equal say. Money from shares contributes directly to keep our paper thriving.
Some union branches have taken out shares of over £500 and individuals over £100.
You can’t buy a revolution, but you can help the only daily paper in Britain that’s fighting for one by donating to the Fighting Fund.
The Morning Star is unique, as a lone socialist voice in a sea of corporate media. We offer a platform for those who would otherwise never be listened to, coverage of stories that would otherwise be buried.
The rich don’t like us, and they don’t advertise with us, so we rely on you, our readers and friends. With a regular donation to our monthly Fighting Fund, we can continue to thumb our noses at the fat cats and tell truth to power.
Donate today and make a regular contribution.