OPERA REVIEW : Old ‘Traviata,’ New Cast in San Francisco

What a difference a couple of months make.

On Sept. 6, the San Francisco Opera opened its season with a rather somnolent revival of Verdi’s “La Traviata.” On that potentially festive occasion, the courtesan with the heart of gold was none less than Carol Vaness, a San Francisco alumna long absent from Van Ness Avenue. The mellifluous duties of the Germonts who love her--each in his own peculiar way--were entrusted to stellar guests from Italy: Marcello Giordani and Paolo Coni. Maurizio Arena conducted.

Now, after seven performances with the glamorous cast followed by an eight-week hiatus, “Traviata” has returned to the War Memorial Opera House. The high ticket prices remain the same (a box seat costs $90), but low-profile singers have assumed the leading roles, and the resident chorus master has taken over the podium.

Surprise. The changes are not for the worse.

The revamped “Traviata” could not answer any Verdian’s most devout prayers. It offered neither musical nor dramatic revelations. It did turn out to be a respectable--and respectful--performance, however, and it did serve to showcase some promising young talent.

The best news emanated from the pit. Ian Robertson sustained crisp articulation and, when appropriate, fine momentum, sacrificing neither grace nor pathos in the process. He accompanied his rather fragile singers sensitively, moreover, and elicited exceptionally alert responses from the orchestra as well as from his loyal charges in the chorus.

Susan Patterson, the attractive new Violetta, is not exactly a tempestuous tragedienne. Her voice is bright and light, her expressive range rather narrow. At this stage of her career, she merely sketches the complex, rewarding role.

She sketched it very nicely, however, on Monday. The coloratura hurdles of “Sempre libera” did not faze her--they have done in many a more celebrated soprano. She traced the lyrical agonies of the central scenes with sweetness and poise, and died a pretty death in Act IV. Perhaps with time. . . .

Jorge Lopez-Yanez complemented her as an elegantly ardent, astonishingly boyish Alfredo. Although the scale of his performance is necessarily small, he shaded the line artfully, floated delicate pianissimo phrases wherever possible and rose to the high climaxes with ringing fervor (even at the treacherous cadence of the reinstated cabaletta). This young tenor from Mexico via Los Angeles actually savors the meaning of bel-canto.

Giorgio Germont was portrayed by Gaetan Laperriere, a Canadian baritone fresh from the insanities and inanities of the updated New York City Opera “Traviata.” In San Francisco’s ultra-conventional version (John Copley’s only striking innovation is a silly spanking for the all-too-willing Marquis d’Obigny at Flora’s party), Laperriere sounded tight and looked stuffy. At least he was willing to sing softly.

Among the new supporting players, Yanyu Guo attracted special attention as a Flora of suave sophistication. James Wood did what can be done with the sympathetic but fatuous bromides of Dr. Grenvil.