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Verdi, La Traviata:  Soloists, Orchestra, and Chorus of Granite State Opera, Philip Lauriat (Artistic Director) The Music Hall, Portsmouth, New Hampshire 7. 11.2008 (LS)

Music Director:Philip Lauriat
Stage Director:John Bowen
Production Manager:Taylor Rodgers
Production Stage Manage:Jennifer Moody
Assistant Stage Manager:Marlena Hipke
Set Designer :Ryan McGettigan
Lighting Designer :Quentin Stockwell
Costumes:Tri-Cities Opera
Supertitles:Raymond Street Translation

Cast:

Violetta Valéry:Nouné Karapetian
Flora Bervoix:Aliana de la Guardia
Il Marchese d'Obigny:Daniel Swanson
Gastone,Vicomte de Letorières:Brent Wilson
Alfredo Germont:John Tiranno
Baron Douphol:Brian Ballard
Dottore Grenvil:John Salvi
Annina:Emily Jaworski
Giuseppe:Matt van Wagner
Georgio Germont:Jimi James
Messenger:Brad Dumont
A Guest:Sean O'Donnell

Jimi James as Germont and John Tiranno as Alfredo

William Berger, author of the delightful Verdi with a Vengeance claims that "La Traviata might well be the world's most popular opera".  It has everything: a beautiful, noble, young, doomed heroine; an adoring tenor, a stern but ultimately sympathetic baritone; a simple yet emotionally powerful plot; and some of Verdi's most memorable music.  Yet, it failed on its opening night, suggesting that out of potential catastrophe can emerge greatness.

Before the curtain rose Philip Lauriat announced that the scheduled Alyson Cambridge was being replaced by her cover Nouné Karapetian.  In turn, Aliana de la Guardia moved from the ensemble to take the role of Flora Bervoix. Readers of my reviews may recall that this is the third time during the past year or so when I've encountered  last minute substitutions, and on each occasion  competence triumphed -especially so in this production.

The plot of La Traviata is well known.  Violetta, the courtesan, knows she is dying from consumption, yet is determined to live life to the fullest.  Alfredo Germont, a young immature bourgeois gentleman, falls in love with her, and to her surprise she reciprocates.  Georgio Germont, Alfredo's father, tells Violetta that she must give up Alfredo in order for Alfredo's sister to wed into society. After much anguish Violetta agrees to leave Alfredo for the Baron Douphol.  When Alfredo reads Violetta's farewell letter he swears revenge against the Baron.

The Act III Set

Alfredo confronts the Baron and Violetta at a party and in fury throws his money at her saying that he was repaying her for the money she squandered on him.   Everyone is aghast at the insult, and Georgio Germont  reproaches him saying that he can't recognize his own son. Violetta faints and Alfredo berates himself.  When she recovers she tells Alfredo that he doesn't understand the depth of her love for him, but some day he will know the truth.

In the final act, Violetta is on her deathbed.  She learns from Georgio Germont's letter that Alfredo now knows the sacrifice she made for him, and will return from abroad to see her.  Violetta fears he will arrive too late, but suddenly amidst the clamor of Carnival outside the house, Alfredo appears.  He begs forgiveness and she says there is nothing to forgive.  Georgio Germont appears and welcomes her as his daughter.  In a final spasm of joy Violetta collapses, the doctor pronounces her dead, and the curtain falls.

I was a bit nervous as Act I progressed.  I learned that Nouné Karapetian had been moved from  "cover" to "actual" only forty eight hours before.  She had participated in no dress rehearsal and had never sung the extraordinarily demanding role of Violetta.  She exhibited a beautiful voice, but her acting was a bit still and tentative: hardly surprising in the circumstances.

John Tiranno looked the part of  a youngish Alfredo, particularly when the tall slender Karapetian towered over him.  His voice  was good, yet I felt that the chemistry in the duet Un di felice wasn't quite there. Violetta sang the difficult Sempre libera quite well, but something was still missing.

The answer was Jimi James as Georgio Germont.  When he  first appeared in Act II, the production was transformed. Readers of my review of Granite State Opera's 2007 production of Lucia Di Lammermoor may recall my praise for his Enrico.  If anything, he outdid himself as Georgio Germont.  His singing and acting were superb, and  Karapetian seemed  energized in his presence.  Their duet Dite alla giovine was breathtaking as was Germont's famous aria Di Provenza.

Acts III and IV continued on the same high plane  Highlights included Germont's Dovè mio giglio? Più non lo vedo and the magnificent concertante finale. Karapetian  was much more confident. She truly became Violetta and her  Addio del passato in the final scene was heartbreaking. Tiranno's Parigi, or cara  was very good, although not quite at the same level as Karapetian and James. The audience responded accordingly with thunderous applause for Karapetian and James.

The other singers performed their roles very well.  Having watched Emily Jaworski as Norina in Don Pasquale a few weeks before, it was impressive to see how she had transformed herself into the aged servant Annina. Brian Ballard was an effectively threatening Baron.

Ryan McGettigan's  sets were bright and timeless. John Bowen's staging was traditional, which I enjoy.  I particularly liked the treatment of Violetta's death scene.

Phil Lauriat's orchestra would have delighted Verdi with its emphasis on the brass section, in particular  Thomas Haggerty's tuba.  The string section handled the ethereal music well.

Once again, Granite State Opera mounted a fine production, albeit under difficult circumstances.  Their last three operas -Lucia, Cosi fan Tutte, and now La Traviata have been a viewer's delight.  I look forward to their Macbeth next spring.

Lew Schneider

Pictures: Courtesy of Granite State Opera

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