BWW Reviews: LA TRAVIATA at the Isaac Theatre Royal

Giuseppe Verdi's operatic masterpiece La Traviata opened triumphantly at the Isaac Theatre Royal in Christchurch last night to a capacity audience. This production marks a welcome return by New Zealand Opera to the theatre that, following an extensive restoration from the Canterbury earthquakes of the 2010s, continues to be one of the artistic jewels of the city.

La Traviata is one of the most frequently performed operas in the world, and for good reason. This heartbreaking love story between the courtesan Violetta Valéry and nobleman Alfredo Germont contains some of the most well-known arias in the operatic repertoire, and the inevitable tragedy that slowly plays out is something that resonates with us all.

Madeleine Pierard is excellent as Violetta. New Zealand born and now London based, Pierard studied at Victoria University of Wellington and then at the Royal College of Music in London. She frequently performs at the Royal Opera House, first covering the role there in 2014. She may not have the most powerful of voices for Verdi's heroine, but her interpretation of the role and the journey her character goes through is second to none, truly moving to witness. Her insights into the motivations and the psychology of the character are testament to her great intelligence as a singer, and coupled with her innate understanding of the dramatic, she is able to convey this understanding to the audience with absolute conviction.

The Italian born tenor Enea Scala plays Violetta's lover Alfredo with much suave passion and energy. He has a richly projected voice perfectly suited to the role, combined with a youthful charisma and charm. This role is his debut with New Zealand Opera, with what we hope may become an ongoing relationship.

More familiar to New Zealand audiences is Phillip Rhodes as Giorgio Germont, the father of Alfredo. He brings with him a great masculinity to the role as the patriarch of the Germont family, and he also has a very commanding voice and stage presence. His tempi choices seemed to be a touch on the quick side at times, a slightly slower speed may have lent even more gravitas to his character. His interpretation of the role was well considered, balancing just the right amount of authority with sympathetic humility.

The artistic vision by director Kate Cherry is particularly compelling, from the use of the flower motif supplied by the libretto to the hanging chandelier, a symbol of wealth and opulence and its decline. The opening of the opera begins with a flashforward as the overture plays, a technique most commonly used by filmmakers, setting up themes of limited time and decline from the beginning and resulting in a very satisfying conclusion at the end of the opera.

The spectacular sets and costumes in this production are at once modern and classic. There are elements of 19th century life (chandeliers, ball gowns, masques) but set against reflective black tiles and square windows reminiscent of a modern skyscraper. The furniture design is also of 19th century inspiration but in the contemporary black and silver colours that one might see in a trendy present-day catalogue. All this highlights the timelessness of the story, the production design by Christina Smith could be seen as a stylised version of the past or equally as inhabiting the here and now.

La Traviata is a wonderful introduction for people who are not usually part of the opera-going public. The musical world created by Verdi is unique and brilliantly conceived, and the story is accessible and deeply moving. This production by New Zealand Opera is a great mix of local and international talent, showcasing the Christchurch Symphony Orchestra and conductor Wyn Davies. If the audience reaction at opening night is anything to go by, this is a production not to be missed and may sell out fast.

La Traviata is on from July 14 to 23 at the Isaac Theatre Royal in Christchurch.

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