Posts with the label La Traviata
Showing posts with label La Traviata. Show all posts
Showing posts with label La Traviata. Show all posts
Monday, 4 April 2022
La Traviata, Royal Opera House | Review
La Traviata
Royal Opera House
Reviewed on Saturday 2nd April 2022 by Olivia Mitchell
★★★★★
Richard Eyre's production of Giuseppe Verdi's La Traviata is certainly a landmark one, having stood the test of time and remaining a timeless version in its 28th season since 1994. The opera encompasses all the swooping storylines you'd expect, with grandeur, passion, sex, family, betrayal, romance and tragedy sewn into every moment. Of course there's also the key element: Verdi's stunning melodies. Even if you haven't listened to the opera before you'll surely recognise a few pieces and as operatic works go, it's very accessible for opera newcomers. This is evident in the audience attracted, with a variety of ages filling the auditorium at the Saturday morning performance.
It's quite clear why this is such a well-loved production. The entire thing is completely opulent and so visually impressive. Gloriously detailed period costumes transport the audience to a 19th-century Paris which feels worlds away from Covent Garden. Despite the grandeur, there's also a subtlety that comes alongside the proceedings. Whilst yes, it is dramatic and luxurious, Bob Crowley's set is also cosy and makes the Royal Opera House's auditorium feel small and inviting. This is also helped by the cast, namely leading lady Violetta, played by Pretty Yende who grabs the attention of all and wraps you up in her tragic story from the moment she steps on stage.
La Traviata tells the tale of a famed Parisian courtesan Violetta Valéry. Seemingly carefree, she is secretly struggling with tuberculosis so when she meets and falls in love with Alfredo, she believes she gets a new chance to live and be happy. They run away together and life off of her money and sale of her property. However one day Alfredo's father Giorgio Germont appears and begs her to leave his son as he is disgracing his family. Due to her strong love, she agrees and from there further drama and pain ensues.
As Violetta, Pretty Yende is a perfect fit. A fantastic soprano, she embodies the role fully and completely shines both vocally and as an accomplished actress. Yende's technique is faultless and she soars throughout with beautifully spun lines, breath control that grasps the audience and complete accuracy on every note. She is completely in command throughout and is especially wonderful in Addio del passato in the final act.
Partnered with Stephen Costello as her suitor, the pair work together nicely. Costello at times is overpowered but really comes into his own towards the end when he shows more outward intensity that is mirrored in his vocal performance and really captures the romantic majesty.
Giacomo Sagripanti conducts the orchestra with the perfect amount of sensitivity and creates an atmosphere like no other.
This is a version of La Traviata that will surely run for another 28 seasons and is a must see for opera lovers and opera newbies.
photo credit: Tristram Kenton
Saturday, 24 November 2018
A Stagey Guide to Singing... Mané Galoyan | La Traviata | Interview
Mané Galoyan is currently helming the UK tour of Glyndebourne's La Traviata where she plays the heartbreaking character of Violetta. Watching the opera, one thing was evident: Mané's voice and technique are second to none, so I jumped at the chance to get some inside information and tips all about singing from the lady herself...
Can you tell me a little about your vocal journey and training?
I started voice and piano lessons at the age of 9 and I’ve always been lucky because I had the best teachers. I hold my Bachelor’s and Master’s degrees from Yerevan State Komitas Conservatory, after which I was a studio artist at Houston Grand Opera for its 2015/16, 2016/17 and 2017/18 seasons.
Violetta is a vocally demanding role, how do you maintain your voice and vocal health?
For me, the only thing that is very important is a good night’s sleep. Since our instrument is our body itself, we just need to treat our body with respect and care, but nothing is better then a good night’s sleep and healthy food. Other than that, I live my life as I normally would (without any extremes, of course! ha ha)
Violetta is also an extremely emotional role, how do you distance yourself from the emotion so your voice remains strong and you're not overly affected by it personally?
The truth is, you can’t fully distance yourself from Violetta. It is an extremely relatable role and I remember when I first started working on the score I was sobbing reading through the text. But it is important to understand that you are not the character – you are just the one who gives voice to the character and keeps it alive. It is indeed a fine balance to keep the emotions and the technique on the same level, but that is the challenge and of course the rehearsals are there to help you to find it!
What is your pre-show warm up like?
I usually do at least 5-10 minutes of yoga to stretch my body and warm it up first. It’s much easier to warm up your voice after your body is warmed up and your breath is going. And then some humming, a couple of scales, check in with the score and ready to go!
Who is your dream duet partner?
A partner who is always present dramatically and who I can make beautiful music with! And right now I am very lucky to have Luis Gomes as my partner in La Traviata. He is the best!
If you could describe performing in 5 words, what would they be?
Sharing, living, exciting, transforming, loving.
What's your top piece of advice for aspiring singers?
Always be open to accept feedback from the professionals around you, but never forget to listen to your own intuition…
La Traviata is on again at the New Victoria Theatre on 24th November, before continuing it's tour.
Interview by Editor, Olivia Mitchell
Interview by Editor, Olivia Mitchell
Thursday, 22 November 2018
La Traviata: Behind the Curtain (UK Tour), New Victoria Theatre | Review
La Traviata: Behind the Curtain
New Victoria Theatre
Reviewed on Wednesday 21st November 2018 by Olivia Mitchell
★★★★
As part of Glyndebourne's 2018 touring season, they are offering Behind The Curtain performances where "the essence of opera is revealed" and audiences get a look at La Traviata as it's cleverly dissected and put together again for a condensed version of the show.
Hosting the night is comedian and opera lover, Chris Addison who welcomes the audience with open arms, and discusses opera in a thoughtful but easily understandable way. First up is a look at the famous brindisi which in 1853 was the equivalent of Gangnam Style in a show, as shown by the stellar Glyndebourne chorus. Addison likens the song style to "a group of students who don't stop talking about getting drunk." These comments, plus other ingenious ways of educating- such as showing the difference between recits and arias through a sung version of outrage at a Greggs bakery opening- make the entire night flow whilst informing people of all ages and keeping them entertained through humour and music.
Much of Addison's commentary is underscored by the glorious Glyndebourne Tour Orchestra, led by Ben Glassberg, who play both pieces from La Traviata and pieces which inspired/were inspired by it. The talent of the orchestra is evident throughout, no more so than when their sight-reading skills are shown off when playing Glyndebourne's Balancing The Score composer, Ailie Robertson's Invocation. Other games include a quick change competition called Beat The Orchestra and an audience guess at how many operas have been composed since Jacopo Peri's first, Dafne.
This Behind the Curtain event takes on the form of part opera performance, part lecture and is a whole lot of fun for both opera fanatics and new fans. It also raises questions to keep you thinking such as "is there ever an authentic setting for Verdi?" and introducing us to the wonderful performances available from Glyndebourne. Particularly interesting for theatre fans is when the Gypsy dance is taking place on stage whilst we see the rehearsal process on the screens; giving us an insight into the backstage process of forming a show.
Original Glyndebourne Violetta, Marie McLaughlin gives wonderful insight into the vocal variations needed for Verdi compared to other composers as she discusses technique and how solid breath control comes from the feet to the top of the body. Alongside some beautiful vocal demonstrations, Marie also explains how the beauty of Verdi is that he gives everything to you in the music and text which tell you exactly how to feel like the "consumptive" Violetta.
Overall La Traviata: Behind The Curtain is just a whole lot of fun. For music students it will surely provide an invaluable and memorable operatic experience and will inspire more people to participate in and enjoy opera. Glyndebourne should be commended for providing such an accessible operatic night. Here's to many more!
photo credit: Tristram Kenton
Wednesday, 21 November 2018
Glyndebourne's La Traviata (UK Tour), New Victoria Theatre | Review
La Traviata (UK Tour)
New Victoria Theatre
Reviewed on Tuesday 20th November 2018 by Olivia Mitchell
★★★★
La Traviata, Verdi's well loved opera, has spawned various productions and inspired a number of other works, including Moulin Rouge which is set to open on Broadway in June 2019. This success is partly due to the fact that it is a passionate and moving piece which still remains fiercely relevant in terms of gender roles and male privilege.
This current Glyndebourne Tour which is celebrating its 50th year, is a beautiful showcase of Verdi's music and an emotive story about honour, honesty and love. The inbuilt drama from Violetta abandoning her life as a courtesan, living with Alfredo, having their idyll torn away by his father and facing terminal illness the entire time, of course leads to a well rounded piece. However, in this production, there is little chemistry between the struggling couple so they fail to fully capture the audiences hearts and take them on the gut wrenching journey, La Traviata should provide.
The production's most moving pieces come from Giorgio (Noel Bouley) and Violetta (Mané Galoyan) who have an unequal, but well performed bond on stage. Armenian Soprano, Galoyan is certainly the star of the show, providing vulnerability, fragility and beauty whilst also giving us emotionally intense and opulent vocals. The Glyndebourne Tour Orchestra deftly perform the intricate score, with guidance from Conductor Christoph Altstaedt who manages to highlight key moments of score and plot-line with ease and dexterity.
Hildegard Bechtler's sets and costumes are not period specific so work well to make the piece feel strangely relevant, whilst also embodying an eerie air about the whole thing. A cool colour palette of beiges, blacks and greys, punctuated with sharp hints of red, does a good job of drawing our eyes to certain places and highlighting the passion and greed throughout.
The sets and costumes, alongside Peter Mumford and Keith Benson's extremely subtle lighting, make this an engaging but not over the top piece of theatre. The transitions from warm light to cool light throughout Act 1, Scene Two, as well as the removal of the few pops of pink on stage, do a great job of mirroring the tensions which are rising. Another detail is Violetta's hair which changes fractionally throughout, from an intricate updo at the start to an untamed style as her health reaches its lowest point.
This really is a production of subtlety where everything is brought out gracefully to have a fully enchanting effect. It's a production to welcome you into opera with open arms and either reignite a passion or create a passion for the art-form and Verdi's music. Outstandingly controlled vocal performances make this a must see production.
La Traviata is on again at the New Victoria Theatre on 24th November, before continuing it's tour.
photo credit: Robert Workman
Subscribe to:
Posts (Atom)
Hello!
