La Traviata review: A wonderful season opener

La Traviata

Opera Holland Park, London                                                                Until Jun 23 

Rating:

Do we need another La Traviata? With the Royal Opera churning out two dozen performances a season of its elderly (but effective) Richard Eyre production from the Nineties, probably not. 

Certainly not one as dire as that ENO abomination from earlier this year that I hope no one will ever have to see again.

But there is always room for a production as well sung and directed as this Holland Park season opener, which offers opera-lovers on a budget the chance to experience Verdi’s greatest hit.

Director Rodula Gaitanou, with excellent sets by Cordelia Chisholm, presents a beautifully costumed production that is traditional in the best sense but lacks nothing in emotional power

Director Rodula Gaitanou, with excellent sets by Cordelia Chisholm, presents a beautifully costumed production that is traditional in the best sense but lacks nothing in emotional power

Given Holland Park receives no public subsidy (but is generously supported by Investec and others), hats off once again to James Clutton for some excellent casting – way better than the team ENO assembled, despite Arts Council largesse.

Guildhall-trained Lauren Fagan steps up to the plate for her biggest career break so far. She presents an appealing Violetta both vocally and physically. 

Clutton’s big discovery, though, is young Matteo Desole as Alfredo: a Pavarotti Foundation-trained lyric tenor in his late 20s who, on this evidence, will go far.

Not everyone liked Stephen Gadd’s Father Germont as much as I did. 

Guildhall-trained Lauren Fagan (above with  Ellie Edmonds) steps up to the plate for her biggest career break so far. She presents an appealing Violetta both vocally and physically

Guildhall-trained Lauren Fagan (above with  Ellie Edmonds) steps up to the plate for her biggest career break so far. She presents an appealing Violetta both vocally and physically

For me, this excellent lyric baritone once again showed his international class, with mellifluous singing and sophisticated acting and a much more rounded portrait of old Germont than we customarily get.

In the pit, the hugely promising Matthew Kofi Waldren led a fine performance, with excellent support from his chorus and orchestra.

Director Rodula Gaitanou, with excellent sets by Cordelia Chisholm, presents a beautifully costumed production that is traditional in the best sense but lacks nothing in emotional power. 

She is extremely good at getting her cast to act out what is at root a really powerful drama and not just a selection of big tunes.

One of the most moving Traviatas I have seen.

 

Kiss Me, Kate

Grand Theatre, Leeds                                                                  Touring until Jul 7 

Rating:

Roll up, roll up, roll up; Opera North’s Kiss Me, Kate is back on the road again. I liked it back in 2015, and I still do. 

But a lot has changed in public attitudes these past few years, and the male-chauvinist-piggery of the ending, as Kate is bent to her husband’s will (Shakespeare’s fault, in the source material The Taming Of The Shrew, of course), will grate on many an ear.

But the magic is still there – mainly Porter’s, but also Samuel and Bella Spewack’s saucy and literate book, Robert Russell Bennett’s terrific orchestrations and Jo Davies’s production, which allows a talented cast to shine.

Magic comes from Robert Russell Bennett’s terrific orchestrations and Jo Davies’s production, which allows the cast to shine. Above: Jack Wilcox, Zoë Rainey, Piers Bate and Alan Burkitt

Magic comes from Robert Russell Bennett’s terrific orchestrations and Jo Davies’s production, which allows the cast to shine. Above: Jack Wilcox, Zoë Rainey, Piers Bate and Alan Burkitt

Davies hasn’t got a concept. All she wants to do is to entertain us with a vintage production set in the sweaty run-down Baltimore theatre where, just after the war, Kiss Me, Kate began its out-of-town run.

As last time, the Dutch baritone Quirijn de Lang leads the cast as Fred/Petruchio, with excellent diction, and more than a touch of Errol Flynn. 

He has new but good support from Stephanie Corley as Lilli/Katharine, and Zoë Rainey and Alan Burkitt as the second couple, Lois and Bill.

Dutch baritone Quirijn de Lang has new but good support from Stephanie Corley as Lilli/Katharine (above)

Dutch baritone Quirijn de Lang has new but good support from Stephanie Corley as Lilli/Katharine (above)

Rainey is a particularly strong addition, bringing the house down with her big Act II number Always True To You In My Fashion

Porter was not only a tunesmith of real distinction but a world-class lyricist – a unique combination. 

And there’s plenty to hum as you leave the theatre: Why Can’t You Behave?, Wunderbar, So In Love, Too Darn Hot (and it was!) and, of course, Brush Up Your Shakespeare, which always gives me, in Porter’s words, ‘a kick in the Coriol-anus’.

operanorth.co.uk  



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