US Edition 
La Traviata, Scottish Opera, Gardyne Theatre, Dundee, review
This performance of La Traviata for Scottish Opera didn't disappoint as a wonderful showcase for new talent, says Susan Nickalls.
One of the reasons for the enduring popularity of Verdi’s La Traviata is its ability to transcend time and place due to the compelling nature of the human drama at the opera’s heart. Scottish Opera’s decision to substitute the piano accompaniment, normally used for touring to small-scale venues, with a chamber orchestra version served to further heighten the intimacy and intensity of the story.
Set against the backdrop of 1950s Paris, director Annilese Miskimmon gave the opera a fresh contemporary edge by recasting Alfredo as a paparazzi photographer and Alfredo’s father, Giorgio Germont, as a vicar. Photographs strung across Nicky Shaw’s elegant and functional set, later replaced by X-rays of tubercular lungs, added to the poignancy of Violetta’s impending death. The only tonal misstep was a heavily pregnant Violetta in the final act, which no one comments on, other than with raised eyebrows.
These touring productions are always a wonderful showcase for new talent and the eight strong ensemble of singers did not disappoint. Tenor Robyn Lyn Evans’ shy earnestness and poetic lyricism made for an engaging Alfredo while David Stephenson gave a finely-nuanced performance as the emotionally conflicted Giorgio. Elin Pritchard was a suitably feisty Violetta whose strong, richly coloured voice, hit all the high notes with ease. But while having a belter of a voice was certainly an asset in the first act when the orchestra was a touch too loud, it would have been nice to see her explore a wider dynamic range, particularly in the more reflective moments. The rest of the cast provided solid and impressive backup particularly Katie Grosset as Flora/Annina, William Townend as the Baron and Andrew McTaggart as the Marchese.
Under the precise baton of Derek Clark, the 18-strong ensemble delivered Tony Burke’s orchestral reduction with sensitivity and panache. Burke often striped the score right down to great effect for instance using a string quartet for the exquisite opening theme and at the end of act one when Alfredo’s offstage refrain is simply accompanied by a harp.
Mark Jonathan’s striking lighting design, including the imaginative use of silhouettes, underlined the puppet-like fragility of the characters.
Although the eight venue tour this month with chamber orchestra is ostensibly a one-off to mark Scottish Opera’s 50th anniversary, let’s hope that future operas might also benefit from the different light this type of production can cast on familiar operas.
Touring until Mar 23. Tickets: www.scottishopera.org.uk