The thrill is gone in LAO’s ‘La Traviata’
Please bear with me; this can get confusing. Los Angeles Opera has two Marta Domingo productions of Verdi’s “La Traviata,” an updated one and a traditional one that feels like it’s been around forever. The newer “Traviata” premiered at the Dorothy Chandler Pavilion in 2006, with Elizabeth Futral as the 19th century Parisian courtesan turned into a ‘20s flapper. But a few months later, the old one was taken out of mothballs for a flapper-averse Renee Fleming, when L.A. Opera made a “Traviata” DVD.
Last month, L.A. Opera brought the old version back, and this time a riveting young Russian soprano, Marina Poplavskaya, and conductor Grant Gershon, both making company debuts, magically revived this tired “Traviata.” On Wednesday, Futral stepped in for the final three performances of the run. Then she hops on a plane to SFO, where her flapper costume awaits her at San Francisco Opera, which happens to be staging Domingo’s second “Traviata.” Again, Futral steps in for a Russian firebrand -- Anna Netrebko.
Lest you think the American soprano, who has been working up the ranks to genuine divadom (she was an impressive star in the premiere of Andre Previn’s “Brief Encounter” at Houston Grand Opera last month), is ever the bridesmaid, she sang gloriously Wednesday. But, alas, the magic was gone, and back was a collection of bad habits.
Futral can be an enthusiastic actress, but here her Violetta was more eager-to-please Southern belle than world-weary consumptive. Her stage manner was broad, her fluttery vibrato conventionally flirtatious. Vocally she sang vowels, few words enunciated. But her high notes were sure and hall-filling. An evening spent basking in her voice is not wasted, but she is capable of more onstage.
There are new Germonts, father and son, as well. As Alfredo, Violetta’s lover, Alexey Dolgov, a cocky young Russian tenor with a secure, bright voice, appeared like a collection of bad habits waiting to happen. He has great promise, assuming he gets over the prancing stage. Baritone Stephen Powell, as Giorgio, Alfredo’s spoilsport father, demonstrated few habits at all, good or bad. He sang smoothly but lacked minimal authority.
Gershon seemed a little thrown by his new cast, and while there were still many instances of eloquence, much dramatic focus was lost, especially with the three principals each going his or her way. There is, however, a very simple solution: The singers need to closely follow their leader.
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‘La Traviata’
Where: Los Angeles Opera, Dorothy Chandler Pavilion, 135 N. Grand Ave., L.A.
When: 2 p.m. Sunday and June 21
Price: $20 to $250
Contact: (213) 972-8001
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