There are revivals that extend well past their sell-by date and need to be taken off life support. Then there are those that bear repetition, to be viewed as a much-loved friend. Sir David McVicar's’ La traviata is one such welcome reboot that remains as sumptuous and thought-provoking as it was when first unveiled by Welsh National Opera in Cardiff in 2009. Mercifully, his presentation relies on no updating, no contemporary fixations, but parallels the life and death of the famous courtesan Marie Duplessis portrayed in La Dame aux camélias by Alexandre Dumas fils.
Had one been familiar with his novel, the pre-performance movements on stage, with blurred figures hovering over dust sheets and making notes as if for a furniture sale, might have had some meaning. It’s a clever idea echoing the novel’s opening scene where the effects of the courtesan Marguerite Gautier are sold following her death from consumption. McVicar adds to this imaginative leap by setting all three acts on her tombstone, a constant reminder of the unfolding tragedy of Verdi’s doomed character Violetta Valéry. Providing a measure of opulence is Tanya McCallin's Tissot-inspired set with heavy black drapes and period costumes that still manage to look fresh under revival director Sarah Crisp.
Leading a strong cast – and crucial to the success of this production – was the exceptional talent of Australian-Mauritian soprano Stacey Alleaume. On the penultimate night of WNO's tour she gave a sovereign performance as Violetta, pouring her heart into the role and expressing feelings as naturally as breathing. She dispatched the coloratura of her Act 1 set-piece as if born to it and, when renouncing Alfredo, she produced a fine legato that I suspect even the great Maria Callas may have admired. Nothing was over-egged vocally and she compelled attention with an easy stage presence, resigned yet dignified even after Alfredo’s insults. With her physical decline she gave a moving vision of a cosy future, her despair, hope and nobility perfectly captured while huddled in the arms of Alfredo sung by Korean tenor David Junghoon Kim.
The chemistry between them was a little one-sided, but if the tenor’s body language didn’t entirely convince, his voice was the real deal. Kim got into his stride early on with a persuasive Brindisi (with much dynamic shading) and added a top C at the end of his cabaletta, “O mio rimorso”. There was no mistaking a strong virile vocal apparatus, passionate and tender, the latter nicely outlined in the closing scene. Mark S Doss’ moralistic Giorgio Germont was somewhat understated initially, nothing overbearing in his portrayal, and while the charm of “Pura siccome un angelo” felt a little strangulated, he brought to the role a sense of gravity and eventual warmth.
Among the finely sung supporting roles there was little to differentiate Baron Douphol (James Cleverton), Gaston (Howard Kirk) and Marquis d’Obigny (Philip Lloyd-Evans), seemingly indistinguishable characters. Sian Meinir and Francesca Saracino both held the eye and ear as Annina and Flora Bervoix. In the pit, Alexander Joel directed the WNO Orchestra with an intuitive ear for Verdi’s rich instrumental palette, coaxing detailed accompaniments, memorably so from an eloquent clarinet in “Dammi tu forza, o cielo” and funereal brass for the finale’s processional. But the night belonged to Alleaume, whose emotionally charged final moments crowned an evening of involving performances. Thanks to McVicar’s original production, this staging demands continued further revivals.
