This was a gripping night at the opera, with a theatrical production of La Traviata anchored by a star performance of Violetta by Lorina Gore. Her repertoire listed in the programme was filled with high coloratura parts, which didn't prepare the listener for the evenness and warmth of her middle voice and the smoothness of her legato. Her florid singing was thrilling, but the quiet and beautiful core was "Dite alla giovine"  in the duet with Germont père. She had power without harshness for the climactic Act II ensemble, and delivered some very lovely soft singing in her last aria. Dramatically she proved to be very complete as well, not only bringing out the the pathos of the role, but as the vivacious courtesan and hostess of Act I, aided by what must be the best theatrical use of a red dress since Bette Davis wore one in Jezebel. 

Samuel Sakker was a slightly hang-dog Alfredo, but was dramatically committed. His warm and flexible tenor helped mitigate Alfredo's callousness,  and his soft singing in his two duets with Violetta was very attractive. David Stephenson was a slightly gritty Germont père, not always easy on top,  but powerfully conveying his changing emotions as his relationship with Violetta deepened.

All of the smaller parts were interesting portraits and contributed to the sense of community displayed on stage. To unfairly select one as a representative of them all,  Wade Kernot's warm bass and attractive stage presence made a real character out of d'Obigny. 

The production was in the hands of the team that created NZ Opera's successful Butterfly. And some links could be seen. Careful and subtle characterisation within a broadly realistic stage picture,  but not excluding abstract and impressionistic lighting and structures.  So Violetta's garden was shown by a backdrop of giant camellias,  and a glass half cube was part of the acting arena throughout the opera. It could be translucent or reflective,  and was used movingly in the latter mode as multiple reflections of Violetta could be discerned as she wandered painfully through her sick room. Chandelier (moving up and down), opulent black furniture, flowers and lavish Belle Époque costumes pleased the part of all of us that wants to see "a show." 

Emmanuel Joel-Hornak conducted flexibly,  encouraging the singers in expressive rubato,  and getting some lovely wind playing from the orchestra. To make this review less than totally positive, there were assorted cuts including the usual missing second verses and cabellettas. 

So a most enjoyable night.  Lucky Auckland and Wellington. They're getting an interesting and dramatic production of a favourite opera played by a fine and cohesive company, that happens to contain an excellent central starring performance.