|
|
|
|
|
Telegraph.co.uk, 18 January 2008 |
Rupert Christiansen |
Verdi: La traviata, Royal Opera House, 14 January 2008
|
La traviata: Ecstasy greets a rising star
|
Rupert Christiansen reviews La
traviata at the Royal Opera House, Covent Garden |
|
Although she has already made several
appearances at the Royal Opera House, the Russian soprano Anna Netrebko has
so far failed to capture the heart of the London audience and earn the
superstar status that she enjoys in Europe and the US.
But her performance in this fine revival of La traviata could change all
that.
Ecstatically received - admittedly by an audience that seemed bolstered by
fans from abroad - it showed her mettle and glamour. Something puritan in me
resists the package she offers, but equally there were moments when her
sheer bravado sent my spine tingling, and you can't argue with that.
Her Violetta was boldly and warmly sung, with a whole-heartedness that
distinguishes her from the more costive Angela Gheorghiu (whose voice is
more purely beautiful). She has a glowing top and, despite a tendency to
fall under the note, a cleanness of tone that allows her to project firmly.
"Sempre libera" lacked the last degree of brilliance, but she carved a grand
path through the noble line of "Amami, Alfredo" and found real poignancy in
"Addio del passato".
Overall, however, I was touched, but not moved: her stage personality is
that of what Jane Austen would call "a sweet, pretty girl" - not a beauty
like Gheorghiu, perhaps, but awfully nice. What she isn't is much of an
artist. It's all painted with a broad brush.
She doesn't engage deeply with the text, or phrase with illuminating
imagination: listen to the Scotto or Cotrubas recordings to hear the deeper
emotional notes. Instead Netrebko radiates a freshness and delight in her
own voice.
The curtain call said it all. Others would emerge looking drained, distrait
and lost in the tragedy of the role, but Netrebko bounced out all smiles and
waves, looking ready to start all over again.
Connoisseurs of Verdian style will have felt that she was outsung by her
menfolk. As Alfredo, Jonas Kaufmann (labouring, I guess, under a throat bug
that left him a little incapacitated), showed a delicacy and refinement in
duet which made Netrebko seem coarse, and Dmitri Hvorostovsky's Germont
displayed his flawlessly smooth technique - does the guy ever need to take
breath?
Maurizio Benini conducted with flair, though Netrebko went her own way from
time to time, and the small parts were all well cast - Sarah Pring made a
strong Annina, and Jette Parker Young Artists Kostas Smoriginas and
Monika-Evelin Liiv shone briefly as the Marquis d'Obigny and Flora. This was
an ensemble that does the Royal Opera great credit.
Richard Eyre's 1994 production must have run up more than 100 performances
over the years, but as rehearsed by Patrick Young it still looks splendid.
What a pity that the management hasn't succeeded in luring Eyre back since
- there aren't many directors who can put on a show as good as this. |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|