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Verdi, La Traviata: Soloists, Orquesta y coro de Buenos Aires Lírica. Conductor: Carlos Vieu, Teatro Avenida (Buenos Aires). 27.3.2009. (JSJ)

Director: Pablo Maritano
Sets: Diego Siliano
Costumes: Sofía De Nunzio
Lighting: Gonzalo Córdova
Chorus: Juan Casasbellas

Cast:

Violetta Válery: Ivanna Speranza
Alfredo Germont: Arnaldo Quiroga
Giorgio Germont: Omar Carrión
Flora: Vanina Guilledo
Barón Duphol: Ernesto Bauer
Gastone: Gustavo De Gennaro
Annina: Rocío Arbizu

Ivanna Speranza and Arnaldo Quiroga – Act I

Independent Buenos Aires opera company Buenos Aires Lírica selected the always popular La Traviata to open its diverse five opera 2009 season – a work that has been performed in the city many times down the years since its first production in 1856, just three years after its premier.

The first of two different productions by different companies in Buenos Aires in 2009, it proved to be interesting, being excellent musically but mixed from the scenic perspective. Initial impressions were of a modern setting, but the kitsch furnishings of Violetta’s salon in Act Iand later the bedroom in Act 3 were in sharp contrast to a decor and Paris skyline more akin to the 19^th century. Likewise in Act II the high-tech feel of Flora’s salon was in contrast to the rustic look of the lovers’ house.

Ivanna Speranza and Omar Carrión – Act II

Throughout excellent use was made of the lighting to create depth and opulence. However, unnecessarily during the Act III prelude film was used to transport the viewer down streets and around buildings before alighting on a corner garret with Violetta’s room therein.

Another noteworthy point was that the cast appeared to be rather “young” – the Violetta of Argentine-Italian soprano Ivanna Speranza almost too youthful and innocent, and the Giorgio Germont of Omar Carrión more middle aged than elderly. Of the three main protagonists only Arnaldo Quiroga’s Alfredo seemed to be just right in appearance.

That said all three performed faultlessly. Making her first appearance in her home country Speranza impressed with her brilliance of tone and the pathos she brought to the role of Violetta, particularly in Act II. Quiroga was both ardent and dramatic, and Carrión, a light baritone, excelled as the demanding but misguided father.

The minor roles also were satisfactorily filled, notably the Flora of Vanina Guilledo, and the chorus was on top form. Under maestro Carlos Vieu the orchestra played with precision and the balance was good.

Jonathan Spencer Jones

Photographs © Liliana Morsia

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