Review Roundup: What Did The Critics Think of LA TRAVIATA at LA Opera?

LA Opera's La Traviata is currently running through June 22 at Dorothy Chandler Pavilion.

The opera's cast features: Adela Zaharia as "Violetta," Rame Lahaj as "Alfredo" June 1-13, Charles Castronovo as "Alfredo" June 16-22, Vitaliy Bilyy as "Germont" June 1-13, Igor Golovatenko as "Germont" June 16-22, Alok Kumar as "Gastone," Wayne Tigges as "Baron Douphol," Juan Carlos Heredia as "Marchese D'Obigny," Christopher Job as "Doctor Grenvil," Erica Petrocelli as "Annina," Peabody Southwell as "Flora" and Louis A. Williams, Jr. as "Solo Dancer."

La Traviata's creative team includes: James Conlon (Conductor), Marta Domingo (Director/Designer), Alan Burrett (Lighting), Grant Gershon (Chorus Director), Kitty McNamee (Choreographer).

La Traviata follows Violetta, a wealthy woman overcoming illness as she throws a lavish party for her friends and lover, Baron Douphol to attend. When Violetta's friend, Gastone introduces her to his friend, Alfredo Germont, it's love at first sight... whether or not Violetta realizes it at the time. Alfredo loves all of her, and is not afraid of her past. However, when his father finds out about Violetta, he asks her to make a sacrifice that will ruin any chance she has at happiness.

For tickets and more information about La Traviata, tap here.

Let's see what the critics think about the production...

Timothy Mangan, LA Times: Luckily, Domingo's production is mostly decorative, and Verdi's "Traviata" can be seen through it, as it were. It was certainly heard through it Saturday, and most effectively. In the title role, Romanian soprano Adela Zaharia, introduced here last year as Gilda in "Rigoletto," made a strong and pleasing impression. The voice was equal parts shimmer and opulence, and she gamboled about its compass with ease. (The coloratura end to Act 1 was especially spectacular.) Her pianissimo phrases seemed to float in the air. At fortissimo and in the high range, she retained her beautiful tone, no fuss. Zaharia's stage presence was elegant and assured too.

Gordon Williams, Opera Wire: There was a dramatic integrity to Conlon's direction, even to the point of risking the beauty (something Verdi the dramatist might have countenanced) in the big outburst that underlines Alfredo's discovery of Violetta's return to Paris. The briskness of the Act two finale surprised me perhaps. After the "rejected" Alfredo has disgraced himself with his petulant, insulting behavior toward Violetta, I thought the tempo, and the embarrassment of the moment, might have been more drawn out. But the seriousness of the public humiliation might have come across perfectly clearly to the majority of audience-members listening to this grand choral number.

Maria Nockin, BroadwayWorld: As Alfredo, 2016 Operalia winner Rame Lahaj sang every note of his role with conviction. His Act Two aria, "De miei bollenti spiriti" ("From my effervescent spirits"), was beautifully put together and its cabaletta, "O mio rimorso," (" O my remorse"), overwhelming. Vitaly Bilyy, who portrayed the elder Germont, sang a lusty "Di Provenza, il mar, il suol" ("The sea and soil of Provence") which he capped off with it's seldom heard, simple, but melodic cabaletta.

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