Opera Review: Last minute Latvian replacement is divine in Verdi's La Traviata

With its magnificent sets designed by Bob Crowley, it remains a model for the way grand opera ought to be presented and this time there was the unexpected bonus of a late replacement producing a stunning performance.

The Latvian soprano Marina Rebeka only came in as a replacement in the title role when Sonya Yoncheva was forced to drop out through illness, but she both sang and acted divinely and fully deserved the warm ovation given by an appreciative audience on the opening night. 

The plot, like so many other operas, is boy-meets-girl, they fall in love, girl dies of tuberculosis, the end, but with the libretto based on a play by Alexandre Dumas and both the joy and tragedy heightened by some of Verdi's finest music, La Traviata is always gripping.    

The story is carried by three main characters. Violetta (La Traviata, or the 'fallen woman', of the title) is a courtesan in Paris who gives up her life as a high-class tart when she falls in love with Alfredo Germont.

But she is already dying of tuberculosis and her misery is made worse when Alfredo's bigoted dad turns up unexpectedly and demands that she give up her man or the ignominy will destroy the family.

The second act of the opera is one of the most well-constructed and gripping of all operas, with the stage successively occupied by all three possible pairings of the main characters. First Violetta and Germont senior, then Violetta and Alfredo, and finally Alfredo and his dad, with the emotions rising throughout. 

The Spanish tenor Ismael Jordi has a beautiful voice, but his acting brought little to the role.

Alfredo is a bit of a wimp and needs to display a wider range of emotions to bring real passion to the character rather than just appearing as a victim.

As his father, the Italian baritone Franco Vassallo started stiff, stubborn and imperious as the role demands at the start, but melted convincingly as Violetta's true plight became clear. 

The Covent Garden orchestra, as always, were excellent, with conductor Marc Minkowski achieving a perfect balance with the singers throughout. 

The night, however, belonged to Marina Rebeka, whose voice was sheer pleasure to listen to, while her acting perfectly brought out the passion of both the story and the music. 

I must have seen this production at least five times now, but every one has been a total delight. Richard Eyre's Traviata is a shining example of grand opera at its best.

Box Office: 020 7304 4000 or www.roh.org.uk  (last performance July 4).