High Fashion
A new production of 'La traviata' in Rome,
reviewed by GIUSEPPE PENNISI
reviewed by GIUSEPPE PENNISI
On 23 May 2016, Teatro dell'Opera di Roma held a very
special gala evening challenging the traditional 7 December
opening night of La Scala's 'season'. The dress code required a
black tie for gentlemen and evening attire for ladies. During the two
intermissions, ice cold champagne was served in the foyer. The gala was for a
new production of Verdi's La traviata which,
every other year, contends with Bizet's Carmen as the world's most performed opera. But Teatro dell'Opera was
presenting a new and much awaited production which may become a feature over
the next ten seasons, or even longer. The attention was such that the 19 May International New York Times, which rarely pays attention to opera in Italy, devoted half a page to the
production's preparation.
The production stems from an idea of Teatro dell'Opera's manager, Carlo
Fuortes, and one of the world's best known high fashion designers, Valentino Clemente
Ludovico Garavani (usually known just as Valentino). An equally world famous movie director, Sofia Coppola, liked the idea of
presenting the ultimate traviata with high
fashion and a good looking young couple of protagonists (Francesca
Dotto and Antonio Poli, alternating with Maria Grazia Schiavo and Arturo Chacón
Cruz) and a young conductor (Jader Bignamini). The impressive stage sets are by Nathan Crowley.
Valentino Garavani and his long-time associate Giancarlo
Giammetti designed four fabulous costumes for Violetta; the others were prepared by
two senior members of his maison d'haute couture, Maria Grazie Chiuri
and Pierpaolo Piccioli, with Teatro dell'Opera's tailor shop. Obviously, at the
gala, many exponents of the world of high fashion as well as Rome's 'high society' were in the orchestra seats and boxes.
 A scene from Act I of 'La traviata' at Teatro dell'Opera di Roma. Photo © 2016 Yasuko Kageyama. Click on the image for higher resolution |
This year the production will be performed in Rome on fifteen evenings
until 30 June. There will most likely be revivals. Already opera houses in Japan and Europe have invited the production.
 Francesca Dotto as Violetta in 'La traviata' at Teatro dell'Opera di Roma. Photo © 2016 Yasuko Kageyama. Click on the image for higher resolution |
Sofia Coppola offers a rather traditional staging with the action moved from the mid-nineteenth century to the early twentieth century. The acting is not extraordinary but may
improve as the performances proceed.
Each scene has a different basic color: in the first
act, Violetta's reception hall is white, in the second act
the country house reminds the audience of Corot paintings and Flora's house is almost black
(indeed most of the costumes are also black to give better relevance to
Violetta's stunning red Valentino evening dress); in the third act dark blue dominates.
 Francesca Dotto as Violetta in 'La traviata' at Teatro dell'Opera di Roma. Photo © 2016 Yasuko Kageyama. Click on the image for higher resolution |
Jader Bignamini is one of the most competent young Italian conductors
specializing in Verdi. I felt this from the prelude when, in the three-stage
portrait of the heroine (ie from the final decline to
the Amami, Alfredo melody), Bignamini emphasized the
highly chromatic strings dissolving into sobbing
appoggiaturas. The promise of the prelude was not maintained through the full performance, though,
where he seemed at times to be led by the singers (especially by Roberto
Frontali — a veteran Germont) rather than leading them.
 Francesca Dotto as Violetta and Antonio Poli as Alfredo in 'La traviata' at Teatro dell'Opera di Roma. Photo © 2016 Yasuko Kageyama. Click on the image for higher resolution |
Antonio Poli was just perfect as Alfredo. Violetta is one
of the most difficult roles in the soprano repertory. Theoretically, it should be
performed by two different singers: a light lyric coloratura soprano
until half way through the second act, then a dramatic soprano in the third act with
Amami, Alfredo being the separation point amongst the two (See 'Innovation and Tradition', 11 December 2013). Only very few sopranos (ie Diana Damrau) can fully
face up to the role as composed by Verdi. I had listened to
Francesca Dotto as Violetta at La Fenice in Venice some eighteen months ago (See
'True Passion', 31 December 2014); then, I was impressed by her coloratura (ie the E flat at the end
of Sempre libera) but I found that she had to grow in her more dramatic
section. She is growing.
All the others had high standards. There were standing
ovations, as expected at a gala evening starting at 6pm, followed by elegant dinners organized by various
associations.
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