After Rigoletto, and with his fame assured, Verdi could
have afforded to relax and Giuseppina appealed to him to do so.
His artistic drive allowed no such luxury. During the composition
of Il Trovatore in 1852, which had no agreed theatre or
production date, Verdi agreed to present an opera at Venice’s
La Fenice in March of the following year. When he eventually agreed
to the premiere of Il Trovatore in Rome this was delayed
by the death of the librettist. The upshot was that at least the
first act of the new opera, La Traviata, was composed contemporaneously
with the later portions of Il Trovatore, operas wholly
different in musical mood and key register. To make matters worse,
Verdi had only six weeks between the premieres of the two operas.
Whilst on a visit
to Paris he had seen and been impressed by Alexander Dumas’s semi-autobiographical
play La Dame aux camellias based on the novel of the same
name. The subject appealed to him but he recognised that it might
have problems with the censors. Piave, resident in Venice was
to be the librettist for the La Fenice opera, even before the
choice of subject was made. Verdi put off the choice of subject
until the preceding autumn, worrying the theatre about the suitability
of the available singers. The theatre in their turn wanted to
get the censor’s approval of the subject to satisfy their own
peace of mind. Piave produced at least one libretto, which Verdi
turned down, before the composer finally settled on Dumas’s play.
La Traviata
was his 19th opera and at up to that time his most
contemporary subject. Verdi was correct in worrying about the
censors and the whole project was nearly called off when they
objected. As to the singers, all went well at the start and at
the end of act 1, with its florid coloratura singing, Verdi was
called to the stage. The audience was less sympathetic to the
portly soprano portraying a dying consumptive in the last act
and laughed loudly. The tenor singing Alfredo was poor and the
baritone Varesi, who had premiered both Macbeth and Rigoletto,
considered Germont below his dignity and made little effort. Verdi
himself considered the premiere a fiasco. Although other theatres
wished to stage La Traviata, Verdi withdrew it until he
was satisfied that any theatre concerned would cast the three
principals for both vocal and acting ability. The administrator
of Venice’s smaller San Benedetto theatre undertook to meet Verdi’s
demands. He promised as many rehearsals as the composer wanted
and to present the opera with the same staging and costumes as
at La Fenice. Verdi revised five numbers in the score and on 6
May 1854 La Traviata was acclaimed with wild enthusiasm
in the same city where it had earlier been a fiasco. Verdi was
well pleased both by the success, and particularly the circumstances
and the location.
La Traviata
is nowadays recognised as one of the lyric theatre’s greatest
music-dramas. Its vocal demands on the eponymous heroine are considerable
and diverse between the three acts. The first act demands vocal
lightness and coloratura flexibility for the demanding finale
of E strano…Ah, fors’e č lui (How strange … perhaps
he is the one (CD 1 tr 7)) and Follie…follie! (It is madness.
tr. 8) and its cabaletta. The second act needs a lyrical voice
capable of wide expression and some power. In act three the interpreter
of Violetta needs not only the power of a lyrico spinto but also
colour and dramatic intensity as well as a histrionic ability
beyond the reach of many singers. These qualities are particularly
needed as Violetta recites the poignant phrases in Teneste
la promessa … Addio del passato (You
have kept your promise. CD 2 tr. 8) as she reads Germont’s letter
indicating Alfredo’s return and as she also realises it’s all
too late. Violetta has then to express her joy at seeing Alfredo
before colouring her voice, carefully maintaining legato, as Violetta
gives him a portrait of herself to pass to the virgin he will
marry before, finally, raising herself from her bed for one vocal
outburst as she collapses and dies in his arms (CD 2 tr12).
In this performance
the demanding role of Violetta is sung by Anja Harteros. Born
to a Greek father and a German mother she started voice training
at the age of 14 in 1986 and became the first German to win the
coveted Cardiff Singer of the World in 1999. This proved the
vehicle for a rapidly expanding career, first in Mozart before
undertaking Violetta at the Deutsche Opera in 2004 as well as
other Verdi roles such as Desdemona in Otello and Amelia
in Simon Boccanegra. She has also sung Eva in Wagner’s
Meistersinger and Freia in Das Rheingold. I mention
these roles, as my first surprise on listening to this performance
was the size of the soprano’s voice. It seems to me to be at least
lyric moving towards spinto rather than the lyric coloratura usually
accorded to Violetta. Large-voiced sopranos in this role are not
unusual. Caballé recorded the role a couple of years before her
Norma (see review),
as did Scotto well into her career and with plenty of heavy roles
under her belt (see review).
But both of those divas had the capacity to lighten their tone
whilst also maintaining vocal flexibility, qualities that Harteros
does not exhibit here and which is evident in the coloratura of
act one. She is perhaps at her best in the confrontation with
Germont in act two where her colouring of the voice expresses
Violetta’s desperation at the request he is making of her to forsake
Alfredo (CD 1 trs.10-13). Harteros is Callas-like in the reading
of the letter in act three (CD 2 tr.8) but cannot sustain the
legato that follows.
Paolo Gavanelli as
Germont is strong and characterful but like his soprano he has
moments of faulty legato as he tries to persuade Alfredo of the
virtues of a return to Provence (CD 1 tr16). He is at his best
in the act two party scene as he condemns his son’s treatment
of Violetta (CD 5 tr.5). As his son Alfredo, the Polish tenor
Piotr Beczala has a pleasing plangent tone with a good variety
of colour and expression and sings an appealingly phrased Brindisi
(CD 1 tr.3). The downside is that he sometimes thickens his tone
with a rather throaty emission ((CD 1 tr.5). He has not yet acquired
the ideal heft for Alfredo’s most dramatic outbursts. Zubin Mehta’s
conducting is routine.
The accompanying booklet
has a track-listing without page references to the full libretto
with English and German translation. More frustratingly there
are no track references in the libretto! The artist profiles are
welcome whilst the frequent, but not excessive, applause is less
so. The main virtues of this live performance are the opportunity
to hear some new voices in this well recorded opera and the SACD
facility for surround sound.
Robert J Farr