Middlebury’s ‘La traviata’ truly grand opera — unique and irresistible (original) (raw)

The old adage, “there wasn’t a dry eye in the house,” applies in spades to Friday’s opening night of Opera Company of Middlebury’s brilliant and powerful production of Giuseppe Verdi’s “La traviata.” Town Hall Theater was “crammed to the rafters” with enthusiastic opera lovers as well as newbies. All subsequent performances, no surprise, are sold out.

Complementing “La traviata,” the OCM Young Artist Program, under the artistic direction of Alejandro Roca, is presenting the U.S. premiere of Catalan composer Xavier Montsalvatge’s one-act opera, “Babel 46,” with performances at 7:30 p.m. Friday, June 12, and at 2 p.m. Sunday, June 14, at Town Hall Theater.

Verdi’s 1853 “La traviata,” one of history’s most beloved operas, sets an Italian libretto by Francesco Maria Piave, based on “La Dame aux camélias” (1852), the play by Dumas fils.

At a party, the impecunious young bourgeois Alfredo Germont falls in love with the already ailing courtesan Violetta Valéry, “kept” by Baron Douphol. Alfredo and Violetta escape the decadence of Paris for the clean country life. Their bliss is interrupted when Alfredo’s father, Giorgio, finds Violetta alone and convinces her to leave his son for the sake of his daughter’s reputation.

Alfredo is livid, blaming Violetta, and follows her to a party where he publicly shames her. Violetta, who is dying of consumption (tuberculosis), withdraws from society. Grand opera ensues with more glorious singing — and the aforementioned tears.

The success of a performance of “La traviata” is dependent first on three singer-actors, and Middlebury aced it. Avery Boettcher as Violetta broke hearts with her brilliant and nuanced soprano. Her regal and dramatic presence and voice molded a character that gave Violetta real substance — and her final appeal went straight to the heart.

Jared V. Esguerra gave Alfredo real appeal with his warm lyrical tenor, used expressively, delivering the insecurity of a young man in love. Andrew Manea was a substantial Giorgio Germont, but his baritone was less free in its expressiveness. A bonus was the real presence of baritone Nicholas Tocci as Baron Douphol. (Tocci, who lives in Pittsford, is the only one of the stars who resides in Vermont.)

The second (part 1) necessity for an effective “La traviata” is convincing staging. Again, Middlebury aced it with direction and stage design by Douglas Anderson, the company’s founder. Eschewing his frequent quirkiness, Anderson astutely set the action in the “Roaring ’20s,” which proved a perfect fit, and eliminated the costliness of setting it in period costumes of the original 1700s. The acting by the three, directed by Anderson, was unusually nuanced, taking the audience on the journey through the opera’s arc to the powerful finale.

Second (part 2) is a skilled music director and excellent orchestra. Filippo Ciabatti led an inspired performance Friday that was as exciting as it was beautiful. The 25-piece orchestra, a reduction of the original score, responded accurately and precisely, and more importantly, with a direct emotional connection. Concertmaster Brooke Quiggins was responsible for some particularly beautiful violin solos.

There were eight more singers in the cast, fine for the most part, effectively playing minor roles. Substituting for the ballet was an expressive Carmen-style dance performance by Vanessa Dunleavy, beautifully accompanied by Daniel Gaviria on guitar. The 13-voice chorus, prepared by Nathaniel Lew, sounded great — and looked great at the two parties.

Speaking of looking great, Douglas Anderson created the beautiful set that, with the use of various simple pieces, flowers, and effective lighting, became a garden party, an elegant country home, a formal society party, and a quiet bedroom. Deborah Anderson designed the striking Roaring ’20s costumes.

Middlebury’s “La traviata” has all the qualities that make it truly grand opera — and a unique and irresistible experience.