Singers, Orchestra, Chorus and Staging as Good as It Gets
By GEORGE B. PAROUS
It was a grand and large audience that heard and saw a spectacular performance of Giuseppe Verdi’s La Traviata last evening at the Benedum. The time-worn standard, so popular an opera for over a century and a half, had an especially hostile reception at its première. In the 1850s, it was not uncommon for European audiences to be demonstrative in the extreme. There was jeering because the soprano was large and close to forty, and the tenor fared no better than the orchestra. The day after the première, Verdi wrote to his friend Emanuele Muzio: “La traviata last night a failure. Was the fault mine or the singers’? Time will tell.” Verdi then tweaked the score a bit and it wasn’t long before the opera became the staple it is today.
There was a special sort of energy flowing on both sides of the footlights last evening. The audience was large and definitely in the mood for a night of “grand opera,” and that’s exactly what it got. The performance was “grand” in all departments, from the orchestra, to the singers, to the chorus and all of those behind the scenes, this production may be the best the company has offered this season. Photos can give an idea of the brilliance of Todd Nonn’s lighting and Peter Dean Beck’s set designs; Glenn Avery Breed’s magnificent costumes and the choreography designed by Attack Theatre. Everyone included in the artistic team did a fine job and delivered a production better seen than described.
Violetta Valéry (Vuvu Mpofu), Alfredo Germont (Duke Kim) and the party guests toast the sweet thrills that love bestows
As is usually the case, interest centered to a large degree on the first local performance of a new soprano. Vuvu Mpofu, as Violetta Valéry, gave everything she had to deserve the riotous ovation she received after the final curtain. Her voice is clear and sound throughout the registers, with ringingly silver tops and a secure and warm middle. She possibly was a bit nervous in the first act, since the “È strano! … Ah, fors’ è lui “ scene had spots of uncertainty and a slight disagreement with the orchestra. Nothing else in the long acts to come could stop her. She sang gloriously.
The most astonishing singing of the evening came from baritone Michael Chioldi in the role of Giorgio Germont. It was his first performance with Pittsburgh Opera, and a marvelous debut it was indeed. I remembered him well from a song recital with Pittsburgh Festival Opera in 2022. He displayed a fine voice then, but nothing could prepare one for the performance he gave last night. A more booming, resonating and powerful voice as Chioldi displayed raised the question of why did we hear him in opera for the first time last evening? His part alone is worth the price of admission. Duke Kim, as Alfredo Germont, also making his first appearance with Pittsburgh Opera, gave another stellar performance. His tenor voice is secure and brilliant, equally placed throughout, and he acted the part as well as he sang. He, too, was clearly an audience favorite.
Alfredo Germont (Duke Kim, left) is skeptical of his father Giorgio’s (Michael Chioldi) sales pitch
Julia Swan Laird gave an excellent demonstration of vocal talent and the art of repose. The part of Annina is frequently listening, and silently observing, and Ms. Laird sang and acted the part in a manner that proved she had the role so clearly wrapped around her thumb that again, and more emphatically, she is a very gifted singing actor. Leah Heater, as Flora Bervoix, was another who made a secondary role stand out in a primary manner. Her warm, strong mezzo-soprano voice is always a pleasure, and she, too, made one wish that the part was larger, just for the joy of hearing her sing.
Flora Bervoix (Leah Heater) has her fortune told by a party guest (Miranda Nichols, courtesy of Attack Theatre)
The cast is rounded out by capable singers in secondary to small parts. Brandon Bell (Baron Douphol), Evan Lazdowski (Marquis d’Obigny), Fran Daniel Laucerica (Gastone de Letorrières), Andrew Bloomgarden (Giuseppe), Oren Gradus (Dr. Grenvil), J. Patrick McGill (Messenger) and Josh Mulkey (Flora’s Servant) all added spirit and color to the remarkable performance. The brilliantly costumed and choreographed chorus gave a mightily vivid account of Mark Trawka’s coaching, and, combined with the supernumeraries, added extra color and liveliness to the scenes.
Annina (Julia Swan Laird) helps Violetta Valéry (Vuvu Mpofu) out of bed
The long ovation that went to Antony Walker and the orchestra was a sincere demonstration of appreciation. Together they made the orchestral part of the work symphonic.
This is a grand production in every sense of the word, and the remaining performances deserve audiences like last night’s. For anyone considering a “first opera,” this is the one to see. Old-timers should hear the opera performed in a manner that they’ve probably never heard before. For full production details – and TICKETS – visit Pittsburgh Opera.
The Artistic Team for La Traviata –
Conductor, Antony Walker; Stage Director, Kristine McIntyre; Set Designer, Peter Dean Beck; Costume Designer, Glenn Avery Breed; Lighting Designer, Marcus Dilliard; Wig & Make-up Designer, James Geier; Choreographer, Attack Theatre; Assistant Conductor, Glenn Lewis; Chorus Master; Mark Trawka; Associate Coach/Pianist/Supertitles, James Lesniak; Assistant Stage Director, Haley Stamats; Lighting Designer, Todd Nonn; Stage Manager, Cindy Knight; Assistant Stage Manager, Claire Young; Assistant Stage Manager, Bee Anderson
David Bachman Photography for Pittsburgh Opera
Categories: Arts and Ideas
So exciting to see Bee Anderson’s name associated with this production!! Proud mom here!