Interludes

THE HANGOVER REPORT – A propulsive LA TRAVIATA at the Met, led by a vocally resplendent Aleksandra Kurzak

• By drediman
• February 8, 2020
• No Comments

Quinn Kelsey and Aleksandra Kurzak in Giuseppe Verdi’s “La Traviata” at the Metropolitan Opera House. Photo by Marty Sohl.

I recently had a chance to revisit Michael Mayer’s production of Giuseppe Verdi’s La Traviata at the Metropolitan Opera. Upon reassessment, I remain lukewarm to the year-old production and still do miss Willy Decker’s striking modernist staging that immediately preceded Mr. Mayer’s season-coded version. Admittedly, Mr. Mayer – who has made a name for himself directing musicals on Broadway – has contributed some nice theatrical touches that help frame and contextualize the story of the famously self-sacrificing courtesan without alienating the Met’s very vocal hardcore traditionalist fan base. I also took to the exciting work of choreographer Lorin Latarro, particularly the sexually-charged ballet that opens the second scene of Act II.

I don’t think I’ve heard a more sprightly reading of the iconic score than in conductor Karel Mark Chichon’s hands. It’s as if the British maestro purposefully aimed to do away with the piece’s sticky sentimentality in favor of propulsive storytelling. In this respect, Mr. Chichon’s work in the pit feels tailor-made for Mr. Mayer’s vision for the opera. In her house debut as Violetta, soprano Aleksandra Kurzak triumphed in a vocally resplendent performance. Although she’s not the most nuanced of actresses, she possesses a lovely and likable stage presence that nicely lends itself to the role. But the main draw of this revival is her musical performance, which was exceptional. It was a treat to listen to her rich, glistening soprano fully and easily embrace Verdi’s immortal vocal writing for the tragic heroine.

At the performance I attended, the ailing tenor Dmytro Popov was replaced by Won Whi Choi of South Korea as Alfredo, the opera’s romantic male lead. Although his performance was understandably a bit wooden and tentative in the acting department, his tenor was wonderfully ardent, if a bit forced at times. Returning to the production from the original run is baritone Quinn Kelsey, who surprisingly provided the evening’s most affecting dramatic performance, imbuing the relatively thankless role of Germont (Alfredo’s father) with humanity and uncommon depth. As always, the Met Orchestra and Chorus were outstanding. Overall, despite some unevenness in production and performance, Verdi’s most popular work still managed to cast its unmistakable spell.

RECOMMENDED

LA TRAVIATA
Opera
The Metropolitan Opera
3 hours (with two intermissions)
In repertory through March 19 (with a few casting changes)