Verdi - La Traviata

For the past fifty-four years, everybody's been talking about "The Tosca" of Callas, Di Stefano and Cobbi: the August 1953 studio EMI recording under the baton of Maestro Victor De Sabata. It may finally have come to pass. Now, everybody will be talking about "The La Traviata" of Netrebko, Villazon and Hampson: the 2005 Saltzburg Decker's staging with Rizzi on the podium.The minimalist and stark stage design, with its unlimited intellectual and emotional symbolism, creates an intentional void- we have seen enough of replicating realism of fatiguing chandeliers and old dusty Parisian gowns in other productions- but no one will ever forget the short red dress and the clock, and the intelligent directing and stellar singing and acting, which have sealded the fate of all La Traviatas to come in one's liftime.With no curtains to rise and a bare stage, and with Violetta present from the very beginning, the drama unfolds with convincing pathos as soon as the first orchestral bar is played. Violetta's choreographic moves across the stage to meet her untimely and tragic death is the creation of a genius- Decker- and the execution of a consumate artist- Netrebko. This is the most innovative, the most emotional, and the most dramatic and live prelude or "overture" or "prologue," if you will, of all La Traviatas you'll ever see.In Decker's brilliant and unparalleled staging, every nuance has a redeeming value that slowly depicts the cleansing and tranformation of Violetta's soul ready to meet her Maker. After a determined and enlightened Violetta confronts reality, she understands that the frolicking of the last few months with Alfredo is over, and that she lives on borrowed time. She first uncovers the clock, accepting her fate and that her time is running out. Then she pulls the huge wild- like her life- multicolored-flower-designed slipcovers away from the sofas, and the expected red color of the upholstrey has changed to white! And later, Violetta unzips her red dress of carnal passion and throws it away with distain and repulsion, revealing her white slip of purity, soon to be coverd with a black coat, like a shroud, heralding her approaching death.The lack of distracting scenery allows the viewer to totally surrender to the music, the thrilling vocalism, and the emotions of the characters. And this format completely succeeds becouse of the superb quality of singing and acting. Anna Netrebko does not play Violetta, but she is Violetta: the kept woman available to the higher bettor, cynical and distrusting the power of pure love, for only carnal pleasure she has known.Netrebko is a phenomenon combining voice, looks, and acting. Is she a phenomenal actress who possesess a phenomenal voice, or is she a phenomenal soparano who is a phenomenal actress? It's hard to tell; and that makes her unique. If she developd futher as a singing actress, she could be a formidable Tosca or Carmen. Netrebko's voice does not fit the standard classification of the soprano range. She crosses all levels, from lyric to spinto to coloratura, with phenomenal agility and contol, and with an unbelievable creamy darkness in the middle. From the sopranos seen on available videos, Netrebko's voice comes out as the most natural. She sings as if she speaks. The muscles of her face and neck show no distortion or annoying gimaces- even in close-up-shots- that other excellent sopranos use to project their voices. Netrebko uses her facial muscles only to show emotions, which makes her a unique singing actress. To compare Netrebko to Callas- as some do- is a disservice to both singers. Netrebko is Netrebko, and Callas is Callas. Period. Both are unique artists in their own right with no peers.In all fairness, Villazon with such a mature, rounded and expressive voice, and a clarion that is rather unusual for a young tenor, Hampson, a lyric baritone of renown, with his smooth, honey-like and powerful but controlled singing, chorus and orchestra playing, are as good as Netrebko but, somehow, her charisma steals the show and she becomes the epicenter of the production. Artistically, musically, emotionally, and theatrically speaking, any production of La Traviata will rise or fall on the strength of its protagonist- Violetta. Netrebko, thanks to Decker's vision, focus, inspiration, and imagination, has become the paradigm and standard of all the Violettas to come: sluttish, witty, manipulative, opportunist, playful, sensual, seductive, and glamorizing and using sex for prosperity; but honest and ready for love. And when, for the first time, she experiences true love that has eluded her all her life, her spiriuality is awakened, and she is transformed, miraculously, into a powerful woman ready for sacrifice, repentance and salvation. Violetta is a complex and multifaceted woman, and Netrebko, with the help of Decker's denuded stage, touches Violetta's inner soul with depth, emotion, and thruthfulness, as it has never been sung, acted or seen before.Some criticism of this DVD seems to be off base, and maybe it comes out of ignorance or emotional bareness. "It's vulgar!" What do you expect? Violetta is a glorified and high-prized prostitute! Spreading her uncovered thighs and legs, with exuberance and enthousiasm, on the red sofa raised by men, tells the whole story with honesty. "Nertebko in not Gheorghiu. Solti's La Traviata with Gheorghiu is the best Violetta on DVD." Of course, Netrebko is not Gheorghiu, and we should be thankful for that. Netrebko sings lying on her back, on her side, on her stomach, on all four, and on her knees! And while putting on and zipping up her allegoric red dress of caranal passion, or while unzipping it and taking it off! Netrebko is possessed by the character, as if there is no tomorrow, and constantly moves and acts with utmost discipline and precision. What more can you ask?. Netrebko is not a better Violetta but a different Violetta, and that makes her unique, and not like all the others. Netrebko's Violetta is totally her own, vocally and emotionally, and it can neither be taught nor acquired.Villazon is a perfect match, vocally and dramatically. Why he has to be compare to "the young Domingo," no matter how flattering? Villazon's voice is more lyrical with more "Italianate" timbre and texture.Hampson, a perfect and equal partner of Netrebko and Vollazon, "is stilted and cold." How an upper-crust Parisian novelist is supossed to behave and act when he meets for the first time the living-in hooker lover of his already socially compromised illegitimate mulato looking son?Warning: this DVD is addictive. The more you watch it, the more you love it. This DVD for an opera fanatic, with a sensitve heart and a critical mind, is a masterpiece destined for eternity. And of course, it sould never be fotgotten that the master behind all this is the genius of Verdi. "Verismo" per se was not in Verdi's bag but, in La Traviata, he wrote the most human and the most true opera music of all times that has reached immortality.Constantine A. PapasEl Paso, Texas

This production pierces with laser precision to the very essence of Verdi's masterpiece! Powerful and Masterfully executed! The chemistry between Villazon, Netrebko and Hampson was mezmerizing! The brilliance of Decker utilizing minimalism with a contemporary set allowed me for the first time to focus solely on the music, the drama and the tragedy unfolding in front of me. The incredible emotional experience was utterly draining! I have seen perhaps 6 different versions of this opera with everything from a fully modern set to the over-ornate baroque and always I was somewhat distracted by the elaborate costuming and sets to fully engage with the actors. Unadorned of all this, the emotional power of the singers to embody their characters was all that was left to pull you into their suffering and heartbreak. Anna Netrebko had me weeping for her sacrifice; Villazon, passionate with his love for Violetta and Hampson for the grief of a father over a beloved son. Their singing was superb! Anna with her bell like clarity and coloratura was nimble and precise;Hampson's baritone equally agile and exhibits his years of experience with a reputation as a perfectionist. Hampson drives home in his Master Classes the importance inhabiting the character not just John Doe baritone playing the part of Germont. He became the man on stage and it was heartbreaking. I own three different productions of La Traviata including the traditional production by the Los Angeles Opera that Villazon did with Renee Fleming and did not realize how much of an emotional experience I missed until I watched this version! His portrayal with Fleming lacked the chemistry that he and Netrebko have, mainly because Fleming appeared to be just a little too old for the twenty something Villazon. Fleming's portrayal of Violetta was stunning and gave me goosebumps but when they were in-scene together it was more about lack of chemistry than individual performance. On this production Villazon's Alfredo was beautifully executed His lush warm tenor and gorgeous stage presence makes him eye-candy equal to Anna's beauty and the chemistry between them made it that much more rewarding. Villazon is good at being a lover on stage. Of all the human emotions to portray on stage, falling in love and being in love is the most difficult to project covincingly. In Opera its more than just physically acting the role. Performers are tasked with the added artistic burden of acting the role in voice. The musical voice is a complicated and taxing actor in the drama. Villazon embodies the nuances of love: falling in love; the tenderness and loyalty of being in love and its torment when placed in complex situations; of the hard choices when one loves someone so completely. He does this better than any operatic actor on the stage right now and with such a diverse line up of co-stars and themes. The only disappointment in this production was Decker's interpretation of how the final scene of Violetta dying would be played out. I was confused more than anything. For having been so successful up to that point in stripping away the unnecessary to zero in on the the powerful emotions in the story, the ending blew apart the intimacy that had built up between the characters and the audience and became cold. Perhaps death is supposed to be that way, cold. It seemed too austere, devoid of the intimacy that the reconciliation of her final minutes were supposed to portray in her death scene. Annina was supposed to be lovingly reassuring her and nursing her on her death-bed, summoning the Doctor, keeping her comfortable physically and comforting her emotionally when Violetta reflects that she will pass away unnoticed by the world, there will be no one to eulogize her passing no one to place a marker on her grave as she had no one in the world except Alfredo and he is gone too. Instead, Decker had Netrebko walking and staggering around on the stage when she was supposed to be gaunt, lifeless, at the very end of her strength, too weak to get out of bed, minutes from dying. The rest of the characters were supposed to be at her side to comfort her. Instead, Annina her faithful servant sat a long way, across the stage from her and was not to rush to Violetta's side when she stirs from her delirium and asks for a sip of water. When Violetta finally sees Alfredo he is supposed to be cradling her in his arms for most of the scene as she goes in and out of consciousness and has visions of her better days as well as says her final goodbyes, content now that the very ones she loves the most in the world are there at her side. Instead, Decker has Alfredo, Annina and the elder Germont saying their reconciliations seated at least 10 feet away from her and each other. Violetta sings her final notes and then abruptly drops to the floor dead, all alone in the middle of the stage. Perhaps the interpretation was symbolic, that the space, the distance between each character's position symbolized the great separation that is the finality of death and that everyone has to go there alone. After the tremendous emotional ride I went on with these characters up to the final scene, it was anti-climatic that all of these characters would experience her death "alone" If Willy Decker did not want to direct a traditional ending then perhaps if he had "Death" (I presume the big silent guy in the room symbolized Death watching her living out her final days) carry her off and out those big doors the symbolism would have been more evident and at least there would have been a sense of an physical contact in her final minute. Oh well, it was still worth adding this one to my opera library. I highly recommend it!

The three stars are strictly for the singing, zero stars for the staging.Features a giant clock, androgynous party guests with identical cardboard masks, a stubble-faced transvestite with a long tongue wearing a bright red dress (a duplicate of Violetta's, which is no doubt intended to make some profound point or other), Alfredo violently stuffing money into Violetta's bodice, gratuitous dark "angels" standing about in serried ranks, and a dark, mysterious figure who turns into Dr. Grenville in the last act.In other words, it's a total mess that bears some resemblance to Verdi's opera, but has much more to do with Willy Decker's ego (which, come to think of it, is a good working definition of Regietheater). It's a great example of what's become popularly known as "Eurotrash" opera.I am no rabid hater of alternative stagings, and I would have been fine with it if it somehow made the story more comprehensible -- but it really doesn't. Instead, it seems more like Decker is poking fun at Piave's (and, by inference Dumas') story and trying to impress us with how smart he is (and, of course, with how dumb all of us are should we not "get it").All that being said, the quality of the singing is admirable -- especially given the conditions under which Netrebko, Villazon et. al. had to work.It's probably worth purchasing to listen to the singing; but is, alas, at its best with the TV off.

Minimalistic set, and with two of the best voices around, what an absolute treat. Anna Netrebko and Roland Villazon work so well together, I have them together in La Boheme, so I was expecting something good, and got it. The direction and supporting voices are brilliant, I could, and have, watched this production over and over again, get it and enjoy.

I loved it! The singing was superb and so emotional and the acting of Netrebo and Villazon spot on and heart rending. Do not be put off by the modern setting. I was apprehensive when I bought the DVD but was won over. It stripped the setting of non essentials and cut through to the truth of the opera. The use of the figure of "Death" and the clock counting down inspired; always there reminding us and Violetta that her time is limited. The end of Act 2 when the party goers retreat before "Death" was spine-tingling.Buy it!

Amazing production of a classic. with fantastic acting performances from anna and Rolando.If a modern dress production has dramatic power such as this you don't mind losing the visuals. the design is stiking and the performances drive us on to be bewitched by it

This is a great version. Both the stars give wonderful, believable performance. And, Oh God! The young Netrebko...

Wonderful chemistry and singing by two leading lights in the opera world.Terrific drama and as for that red dress ——- 💃