La Traviata, by Giuseppe Verdi
Philadelphia Opera at the Academy of Music, Oct. 2-11; Free HD broadcast on the Mall, Oct. 16, Independence Historic National Park
Lisette Oropesa’s first time out as Violetta Valery was triumphal Friday night. To show her glee in a role that clearly suits her, after “Sempre Libera”’s fireworks, the soprano flung the contents of her champagne glass across the boards. And why not? Oropesa has it all. Vocal range and beauty, nuance and technique. She’s the slimmest singing actress to play the tubercular “fallen woman” (i.e. sex worker) on this stage in awhile: eliminating one of the challenges that suspend operatic belief.
Alek Shraker, as Alfredo, is also new to the role and this company. The tenor has a slight cover to the voice; opening night, Shraker’s presence was more subtle than heroic but his singing acting developed ardor and projection as the drama progressed. A powerful match for this Violetta is Stephen Powell’s Germont. Always harder to sing slow sustained lines, which Powell well achieved in “Di Provenza”; even finer his impassioned duets with the woman whose love he has come to defeat. On her own, Violetta’s lyric whispers, so perfectly tuned, created a marvelous stillness in the house, before igniting second-act applause.
Pitch: there’s a concept we don’t always find ideal opening night: much as we crave it. Pitch and timbre. What joy to listen to Oropesa through the evening; not only secure of pitch but how beautifully she matched the woodwinds, flutes in particular, how easy it was to admire again Verdi’s knitting of vocal and instrumental lines. How easeful, too, Corrado Rovaris’ shaping of ensembles: onstage and in the pit. Continue reading New Violetta Wears the Pants in Philly “Traviata”