Scottish Opera rounds off the season in traditional style with a welcome second revival of Sir David McVicar’s La traviata, first seen in Glasgow in 2008 and justifiably well-travelled since, most recently at Welsh National Opera with whom this was originally a co-production. McVicar pulled off a surprise visit to join revival director Leo Castaldi in rehearsals in Glasgow, popping in to add his special polish, ensuring the impact was even more powerful than it was 16 years ago.
All three acts are played out on Violetta’s huge black slab of a tombstone with “Ici reposé Violetta Valéry, née le 15 Janvier” spelt out across the stage. With set and costume designer Tanya McCallin's funereal inky black drapes, it is clear from the first notes in the prelude where this timeless powerful tale of love is heading. McVicar shifts the drama forward several decades from Verdi’s 1850s to the Parisian Belle Époque, McCallin’s stylish period costumes adding colour and sumptuous decadent flair. McVicar’s emphasis on the source material, Alexandre Dumas fils' book La Dame aux camélias, based on his real-life affair with Marie Duplessis, catches the imagination. Before the prelude, McVicar has shadowy figures removing dust sheets in preparation for a sale of Violetta’s possessions, a ghostly echo of real life as Duplessis’ belongings met a similar fate.
This production works so well because, despite the fun and mischief of the outrageously bombastic parties, it is the handling of intimate quieter scenes that draws us in. The shifting balance of power in the long remonstration between Violetta and Germont, as he gently explains that her relationship with Alfredo must end, the fulcrum of the story, was a brilliant highlight. Violetta was slowly boxed into a corner, her only option being to flee back to Paris and renounce her love for Alfredo. In the delicately paced final scene, McVicar confines Violetta to her bed – or a yard from it – the reality of death from consumption ruling out this Violetta pacing the bedchamber. The artful direction of the singers with tactile gestures made this performance deeply personal, and the denouement with its haunting tableau as the black drapes close in all the more shattering.
Hye-Youn Lee, a singer who completely inhabits a role, was sensational as Violetta, her lovely burnished lower register opening out into a bright, accurate and considerable coloratura, pacing herself well for this demanding work. Her first act sequence including “Ah, fors'è lui” was a triumph. Making his Scottish Opera debut, Ji-Min Park was a well-matched Alfredo, joyous in the brindisi, lovesick and angry later, his tenor tender and sweet, but able to turn on the power thrillingly. Philip Rhodes sang a fine Germont, his grey-edged baritone perfect for his steely soft power approach. Among the minor characters, Heather Ireson was a well sung Annina, Violetta’s maid. Scottish Opera’s Emerging Artists were Lea Shaw, a convincing Flora if slightly underpowered, Monwabisi Lundi as Gastone and Ross Cumming as Marchese d’Obigny.
The chorus under their director Susanna Wapshot were vocally on top form for the two parties, Violetta’s very merry, Flora’s with menacing undercurrents, each singer a character in a blitz of busy stage direction. A team of dancers, including mischievously flouncy ladies, kept things lively, Andrew George returning to put even more sparkle into his original choreography. Lighting technology has changed since 2008 and Robert Dickson sharpening up of Jennifer Tipton’s original lighting plot added dramatic highlights, showing off McCallin’s sumptuous frocks stylishly.
In the pit, Stuart Stratford drove the music along with a keen ear for balance, the woodwinds having a great night. Verdi's score burst with exuberance, occasionally overtaking the singers, but Stratford was supportive, drawing nuanced colours from the players. There were odd ragged moments on opening night which will settle as the run tours Scotland. The big set pieces were tremendous, especially when the heavy brass kicked in, underpinned with a formidable and weighty cimbasso.
I have seen this production three times now and, rather than gathering dust, it is like a fine wine. This McVicar improves with age.
