Review: LA TRAVIATA, London Coliseum

In matters of opera as in love, does size and length make a difference? Or is it more about skill and performance?

Much shorter than Richard Eyre’s three-hour plus version for the ROH, Peter Konwitschny’s La Traviata perhaps should be renamed La Trav or L’ Abbreviata. Its breathless sprint over 105 uninterrupted minutes takes more than it gives but there’s an admirable boldness to it all.

This co-production with Opera Graz arrives at a tumultuous time for the ENO. Despite an ostensible victory over Arts Council England and their draconian threats to pull funding, the company announced earlier this month that its orchestra would be reduced, cutting 19 jobs and employing the remaining musicians on a part-time basis. In reaction, musical director Martyn Brabbins resigned saying that he could “cannot in all conscience continue to support the Board and Management’s strategy”. 

Whatever it is happening upstairs, this is a faithful revival of a divisive production directed with verve by Ruth Knight. She does well to hold the narrative structure together even though some of its ramparts have been taken away. Cuts to the original Verdi score are not unheard of but Konwitschny has taken a hatchet to some key elements: arias lack the usual repetition, the duel is all but forgotten in the second act and the dialogue between Violetta and Annina is snipped, putting a question over what will happen to the maid when her mistress passes away.

American soprano Nicole Chevalier is a near-constant on stage with other characters sometimes planted around the hall to sing their parts. Opposite her, Argentinian tenor Jose Simirilla Romero makes for a resounding Germont and the chemistry between them is almost palpable. Their duets are a genuine highlight: if Konwitschny’s intention is that, by stripping back on action and dialogue, the focus is brought more to bear on the lovers' agonising situation, he succeeds in spades. 

On set, Johannes Leiacker’s staging is to the point, as per the director’s vision. It largely consists of layers of crimson curtains which are used both as prop and backdrop. For those not familiar with the plot, it can be confusing as little changes in the background when the characters change location and the clues are chiefly in the satisfactory English translation from Martin Fitzpatrick. This simplistic device is generally unambitious for this opera but there is something plaintive yet rousing about the last moments when the rearmost set of drapes are pulled aside and Chevalier's Violetta walks away from the audience on her final journey. 

This is Verdi redux and reduced but, a decade on from its ENO debut, it is still a heart-grabbing ride through to its inevitably grim ending. Purists will no doubt shake their heads at this radical interpretation while newcomers to this tragic love story may occasionally get lost and wonder what all the fuss is about. Given the ENO’s financial constraints and their decision to abandon the planned Ring Cycle with its lengthy operas, this could signal a move towards shorter new works and sharpened classics.

La Traviata continues at London Coliseum until 12 November.

Photo credits: Belinda Jiao

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