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Observer
12-05-2025
- Entertainment
- Observer
Verdi's La Traviata, a tragedy of star-crossed lovers
Photos by Khalid al Busaidi A full house welcomed Plácido Domingo to the Royal Opera House Muscat, where Giuseppe Verdi's 'La Traviata' was performed for the third time. Following successful productions in 2018 and 2022, this staging was presented by the Orchestra and Chorus of Teatro Carlo Felice di Genova, offering a vibrant interpretation of Verdi's 1853 opera. Based on Alexandre Dumas' novel 'La Dame aux Camélias', the opera explores deep themes of love, morality, sacrifice, and societal judgement. Set in 19th-century Paris, it depicts the tragic life of Violetta, a courtesan suffering from tuberculosis — a deadly, contagious disease that echoes Mimi's fate in Puccini's 'La Bohème'. At its core, the story examines love's resilience amidst social pressure and the personal cost of sacrifice. Verdi's La Traviata, a tragedy of star-crossed lovers The performance began with a stirring Overture, conducted by Maestro Domingo, highlighting memorable string melodies. The curtain rose on an ornate garden scene designed by Giovanni Agostinucci, set in 1847. Violetta, the Parisian socialite, dazzled in a white gown adorned with jewellery as she hosted a lively party. The chorus of fifty singers and the 75-piece orchestra created a rich, vivid atmosphere — resembling a grand ball filled with vitality and sophistication. Violetta's character demands significant dramatic range, from flirtatiousness to poignant tragedy. Armenian soprano Juliana Grigoryan portrayed her masterfully, capturing both vocal finesse and emotional depth. Opposite her was Azerbaijani tenor Yusif Eyvazov as Alfredo. Their chemistry was palpable, especially during 'Un dì, felice, eterea', where Eyvazov's warm tone and lyrical delivery conveyed Alfredo's love passionately. His spectacular unaccompanied cadenza at the end of the duet left the audience enthralled. Verdi's La Traviata, a tragedy of star-crossed lovers Violetta's 'Sempre Libera' showcased Grigoryan's impressive upper register and her ability to convey inner conflict. Her soaring colouratura and repeated high Cs marked a powerful moment, as her character dreams of freedom yet remains committed to love. Act 2 opens in Violetta's country estate, with plush Louis IV decor. Alfredo's father, Germont — a moving presence played convincingly by Caner Akgün — enters to persuade Violetta to abandon Alfredo, claiming her corruption damages their family's honour. Akgün's emotional performance of 'Pura siccome un angelo' was particularly compelling. Marta Ornelas's understated direction heightened the intimacy of the scene. Violetta pours her heart out about her love and impending death from tuberculosis. The act concludes with a striking a cappella coda, as she and Germont draw closer without touching, conveying complex emotion. Later, Violetta writes a farewell letter and calls Alfredo 'Amami', pleading for love before rushing off stage. Germont then persuades Alfredo to return home via 'Di Provenza il mar, il suol', performed with paternal tenderness by Akgün. Verdi's La Traviata, a tragedy of star-crossed lovers Scene 2 at Flora's salon is a dazzling highlight, bathed in red tones. Gypsy dancers from Antonio Gades' company perform a captivating dance, miming a bullfight with flamenco flair. Violetta arrives in a black sparkly dress and joins a card game with Alfredo — who wins repeatedly — and Baron Douphol, sung with charisma by Omar Kamata. Tensions rise when Alfredo insults Violetta; Germont intervenes to rebuke Alfredo, stressing the importance of honour. The climax occurs in Act 3, set in Violetta's sombre green bedroom where she lies dying. Dr Grenvil (Dario Russo) offers grave comfort, while Violetta reads a farewell letter from Germont. Her haunting rendition of 'Addio del Passato' is a poignant farewell. Alfredo arrives, and they sing 'Parigi o cara', dreaming of future happiness. The act ends with a quintet, culminating in Violetta's death accompanied by a mysterious violin theme from the first act, leaving the audience moved. The curtain call featured soloists and Domingo himself, who performed a ten-minute encore. Rumour has it he will return to Royal Opera House Muscat with the International Operalia Festival in 2027 — an event worth waiting for.
Observer
27-04-2025
- Entertainment
- Observer
A marvellous taste of La Traviata to come at ROHM next week
This month's lunch music in the Opera Galleria – the final for this season – was a delightful romp through the well-known songs of Verdi's 'La Traviata', inspired by Alexandre Dumas' 'La Dame aux Camélias'. The Royal Opera House Muscat Outreach team is hosting a series of pre-performance events this week to deepen understanding of the music and narrative of Giuseppe Verdi's iconic opera. Saturday's performance marked the first of these events. This free lunchtime recital featured just three understudies from Teatro Carlo Felice di Genova as soloists, providing a genuine treat for all in attendance. The occasion was further enhanced by a stunning black dress created by Omani fashion design student Nehal Al-Khizairi, who secured second place in the ROHM 'Violetta Project' Costume Sketch Competition. The dress was modelled by soprano Ana Oniani with flair. A marvellous taste of La Traviata to come at ROHM next week Celebrating Verdi's beloved score, one could not overlook the hearty rendition of the drinking song 'Brindisi'. To underscore the spirit of the celebration, Richoux Café provided both singers and the audience with glasses of juice to toast the occasion. Tenor Dario Prola emerged from the back of the atrium, delivering a robust introduction as Alfredo, harmonising with Ana Oniani's sweet soprano and the chorus—four men and one soprano—at the front with their rousing refrain. The love song 'Un di, felice, eterea' (one day, happy, ethereal) was movingly performed by Prola as Alfredo in a sincere declaration of love, the melody serving as a delicate theme throughout the opera. Ana, portraying Violetta, responded with youthful innocence in an amusing encounter, later blending their voices in a passionate duet. A marvellous taste of La Traviata to come at ROHM next week Ana followed with the extended 'E strano... Follie... Sempre Libera,' showcasing dark, brooding colours in her voice alongside tender lyricism. She sang of her beating heart, echoing Alfredo's theme, demonstrating the impressive versatility and range of her voice. The 'La Follie' section displayed her remarkable coloratura technique, transitioning into an amused, jovial quality. Alfredo's voice, almost mocking as it drifted from the gallery, was met with Ana's regained composure and light, playful tone. A striking contrast was provided by South Korean Byung Jun's rich, warm baritone as Violetta's father, Germont. In 'Pura siccome un Angelo' (Yes, God gave me a daughter, pure as an angel), he extolled her beauty and youth with clear enunciation, imploring her to forsake Alfredo and return home. An emotional dialogue ensued between Ana and Jun, infused with anguish, yet their still posture lent a chilling dramatic intensity. A marvellous taste of La Traviata to come at ROHM next week Later, Jun exhibited his confident stage presence in Germont's famous 'Di Provenza del mar' (Of Provence the sea, the soil that erased from your heart). An unaccompanied section near the end was beautifully poised and well placed. Joyously, this was followed by the quintet presenting a rousing 'Coro di Zingarelle e Mattadori'. Two dancers from the Antonio Gades Company, Alvaro Madrid and Elena Ros, took centre stage as the gypsy and the matador, captivating the audience with their exquisite flamenco moves. Returning to the drama, Ana Oniani's recitative in 'Addio del passato' was half spoken through plaintive tears, leading into the slow Aria she delivered with restrained sadness. Her acting skill matches her vocal range in versatility. Violetta and Alfredo dream of far-off Paris in 'Parigi o cara', a heartfelt duet which melted listeners' hearts. Prola's strong tenor complemented Ana's lyrical agility, leading to a perfectly matched acapella conclusion. A marvellous taste of La Traviata to come at ROHM next week Violetta's final Aria, 'E' – Cessarono gli spasimi' (Strange; the painful spasms have ceased), was swift yet dramatic in her high tessitura, as she died in Alfredo's arms. There could be no better encore for this splendid matinée than a reprise of 'Brindisi'. Pianist Andrea Dindo returned to the Yamaha Grand after an hour of continuous accompaniment, and all took a well-earned bow. The event concluded with an opportunity to join 'Violetta and her friends' for lunch, courtesy of the generous invitation from Richoux Café, complimentary for ten lucky early birds. By Georgina Benison Photos Khalid al Busaidi
