La Traviata 311.
(photo credit: Courtesy)
Even without a double bed in the spotlight, one could have imagined how Violetta
and Alfredo were spending their time, in Verdi’s La Traviata, performed by the
However, leaving things to the audience’s imagination was
not a characteristic of Stefano Mazzonis di Pralafera’s direction and Edoardo
Sanchi’s sets. There were abundant throwings about of objects, whether necessary
or not, for shallow theatrical effect, and stereotypically outstretched arms in
the manner of a trend that had already become out-of-date in bygone
Among the singers, Stefan Pop, in the role of Alfredo, was the
outstanding personality and voice. His radiant lyric tenor and forceful
expression made him an irresistible lover and made one understand Violetta’s
love for him.
In the title role, soprano Cinzia Forte seemed to function
on the erroneous assumption that emotional intensity has to be expressed by
shouting. This did not fit the gentle and modest character of Violetta. Toward
the end her voice mercifully became softer, though in her dying scene she
sounded too strong and robust for a consumptive in her last
Baritone George Petean, in the role of Germont, expressed human
warmth and fatherly compassion in his final aria. At first, though, he appeared
too demanding and aggressive for arousing sympathy.
Conducted by Yiishai
Steckler, the Israeli Opera Chorus sounded lively, communicative and balanced.
The Symphony Orchestra Rishon Le-Zion was attentive to the action and the
singers, adjusting its tempo flexibly and and matching its subtle nuances of
dynamics to what was happening on the stage.