The Stage
“They are offering a valuable contribution to touring opera in this country.”
Violetta – Olga Georgieva on first night – captivating as the demimondaine
who, though a hedonist at heart, sacrifices her lifestyle and possessions to be with Alfredo. She brings a wide range of vocal colouring and sings tirelessly. On the stage she is the dramatic glue that sets the performance. There’s a firm anchor in the pit, too, with fine orchestral playing from the 30-piece orchestra, and well-judged conducting from the young Azat Maksutov, who moves seamlessly between the fleet-footed dance music on the one hand, and moments of unexaggerated dramatic intensity on the other.
A boon to opera in regional theatres, this traditional staging boasts a striking heroine and orchestral playing of distinction
Stage Talk Magazine
La Traviata is perhaps the most dramatic (in the sense of it being like a play) of all operas – intimate, intense, domestic even. It basically has only three characters and takes place in three rooms. Consequently the burden of performance sits heavily on the principal singers. Much of opera demands a suspension of belief which is as important as wearing your diamond tiara and sipping a glass of champagne in the interval, but Traviata is all fairly believable stuff.
We were treated to three excellent performances. I am no expert but I suspect that Violetta is one of the most demanding soprano roles in all of opera, both in singing and acting. Olga Georgieva shone as the dying heroine. She looked good, acted well and sang beautifully throughout. Ivan Snigirev made a sympathetic and convincing Alfredo, but out of the two male principals, for me, it was Andrei Kovalev as Giorgio Germont, Alfredo’s father and, initially, the wellmeaning villain of the piece, who dominated. Giorgio’s Pura siccome un angelo at the beginning of Act II and the duet with Violetta that follows, Dite alla giovine sì bella e pura, were probably my favourite moments of a very satisfying evening.
The thirty-piece orchestra under the baton of Azat Maksutov handled the boisterous party scenes with vigour and the quiet passages with great sensitivity. It is nice to have a live, decent size orchestra when so many opera/ballet companies nowadays depend on a recorded soundtrack.
As I have said before on these pages, Alexej’s company is the best of the Russian
opera/ballet companies touring the UK and present a popular, accessible repertoire
which is a rare treat in the provinces.
Scarborough News
Everybody knows that if a woman’s name appears in the title of an opera she’ll be a goner by the end of Act 4. The heroine of La Traviata, then, might think she is safe, but a rough translation of La Traviata is ‘The Transgressor’. You don’t need me to tell you the fate of female transgressors in Nineteenth Century art.
Oksana Klipka (soprano) acts splendidly as the doomed Violetta. Her voice sparkles but, as the action moved to its inevitable conclusion, the lightness of her lyric soprano darkened and the later arias and the death scene were highly affecting.
At the curtain, the audience reserved one of the biggest cheers for Andrei Kovalev (baritone) as Germont. His internal conflict - conventional morality and family honour ranged against the lovers’ obvious devotion - was beautifully realised. Verdi’s writing for this role is exceptional and this was a dignified performance.
The chorus (choirmaster - Nataliya Masanova) provided entertaining by-play and excellent support.The set, by Yuri Samodurov, featured clocks as a motif and arterial red as a keynote.The drama of these slashes of scarlet, suggestive of Violetta’ s burgeoning TB, was established in the overture as she lay on a bed, tended by Doctor Grenuil (Yuri Balabaev).
According to the Operabase website, La Traviata is currently the most performed of all operas worldwide. Not to be missed.
A feast for the eyes as well as the ears.
Theatre South East
The tragic story (am I giving too much away here?) is described as one of Verdi’s greatest and you can see why, not only was there scandal and high drama but the music was glorious.
It had beautifully haunting arias coupled with the lighthearted drinking song Libiamo ne’ licit calici which would be instantly recognisable to many and has stuck in my mind since. The production had a large cast and a live orchestra with over 30 musicians who together brought the splendour and gaiety of mid-19th century Parisian life to the Hawth. I was impressed with the sheer amount of singing that the leading lady had to accomplish during the opera never falling once. Her melodic voice will stay with me for a long time, as will the whole production.
It was my first visit to the opera but certainly won’t be my last.
Gateway FM
The performance was stunningly beautiful and most warmly received by the audience. I spoke to several of them afterwards and they were just overwhelmed by the experience. In fact, so much was the audience involved that it missed many opportunities to applaud individual arias.The result was a performance that flowed beautifully. Perhaps it was less rewarding for singers in that they would not have received the applause during the opera that their performances deserved, but they could have been in little doubt of the warmth of the audience's appreciation when it came to the curtain calls.
The Daily Post
The Russian State Ballet and Opera House enjoyed a well-deserved standing ovation for their performance of Giuseppe Verdi's opera.
It evokes a powerful sense of joy, elation and celebration of life so perfectly, I imagined spending the evening on a musical high, dancing to the rhythms of this genius masterpiece.
I didn’t know that this tale of one tuberculosis suffering, noble courtesan, was in fact a sweet, tragic story of love, and a touching account of sacrifice.
La Traviata – a ‘woman who strayed’ – could easily be a woman who found her way instead, as a great part of her story is one of repentance and complete transformation. From a girl made for pleasure and pointless folly, who lives only for joy and has no belief in love, to a woman deeply devoted to a young bourgeois who declares his feelings for her. Alfredo (tenor Damir Zakirov) takes Violetta (soprano Irina Bozhenko) away from the fast paced Parisienne lifestyle of dance, drink and gambling to lead a quiet life of love for another in a peaceful countryside retreat.
Inevitably, and despite Violetta leaving her old ways and past behind, Alfredo’s father Giorgio (a deep and impressively convincing baritone Dmitrii Karavaev) arrives to ask her to give up his son and leave, to safeguard the reputation and happiness of their family. Heartbroken, Violetta decides to sacrifice her love, her one hope of happiness, pledging a secret oath of silence to cover up the true reasons. Alfredo is confused as she departs, Love me Alfredo (Amami Alfredo) almost brought me to tears.The pair do reunite in the end, but too late, as death strikes.
Irina shines with effortless vocals which feel like gold spilling from her throat every time her lips part, especially so in the virtuoso aria Always Free (Sempre Libera). The couple’s duets of melting chocolate voices carry the unity and strength of their love beautifully, right from Alfredo’s loving proposal in Un di Felice.
The chorus were on form, with an endearing accent, which at times made me do a double take to check they were still singing in Italian! I loved this performance.
Russian State Ballet and Opera House were simply wonderful and the prolonged standing ovation at the end, with cheers and even some whistles, was truly just.
To book your tickets or for more information on La Traviata either click here or call us on 01785 619080. The opera is with us for one night only on Friday 9th October at 7.30pm.
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