La Traviata Thursday 22nd August 2013 Sydney Opera House.
Dear Colleagues,
My last opera for the Sydney winter season was La Traviata. (I am NOT going to South Pacific although I
am sure it will be excellent). A
knowledgeable friend had contended that Emma Matthews had a small voice so I
made a point of sitting towards the rear of the theatre (back seats of Loge Y -
and they only cost $44 each). Ms
Matthews’ voice filled the hall perfectly well and her delivery was
faultless. She injected sex appeal [sic],
impishness, vulnerability and despondency as required by the drama. She also used a phenomenally difficult
coloratura at the end of Act I and lasted the distance to a tragic demise in
Act III.
By contrast the tenor playing Alfredo was barely adequate. Martin Buckingham was promoted from the opera
chorus and despite a valiant effort was clearly in difficulties from the
start. I recall Vinson Cole calling this
part a 'killer role'. If only Mr
Buckingham had not attempted two unwritten high notes he may have got away with
it. He cracked on an optional high note
in the off-stage section at the end of Act I.
Then in Act II he then sang a fine 'De miei bollenti spiriti' but
attempted the optional high note at the end of the cabaletta which was
strangulated, curtailed and ugly.
I was a little surprised that the company chose Shane Lowrencev as Baron
Duphol who plays the close guardian of Violetta in the party scene. Having been cast in major principal roles he
was now reduced to this comprimario part, which he sings perfectly well. However, it was hard to overlook the singular
difference in height between the diminutive soprano and Mr Lowrencev who must
measure near 2 metres.
Along with the soprano and marvellous production by Elijah Moshinsky,
another strength of the evening was the velvet baritone singing of Jose Carbo
as father Germont. He looked and sounded
every bit the part and it is surprising that we don’t hear him more often in
our opera seasons. He should just be
signed up on a serious retainer but the company just does not do that any
more.
Patrick Lange conducted a professional orchestra with traditional tempi
and not drawing attention unnecessarily to either himself or his band. The opera chorus also sang and acted well in
the cramped conditions of the Sydney opera stage.
Another good night at the opera.
We are privileged indeed to have an opera company at all in far off
Australia although it is depressing to think that the seasons are now so
depleted from the ‘golden years’ of the 1980s, 90s and so on. And not much changes with the new season
announcement, sad to say. To learn that
Carmen is featured would make many subscribers groan so often have we seen this
opera. Some of the main drawcards are
not actually opera performances at all.
There is a Sunday evening concert by German tenor Jonas Kaufman (top
seats are $350). Yet we will be denied
Mr Kaufman’s great attribute, being his intense stage presence and acting in an
opera. Even at his absolute prime
Luciano Pavarotti sang three performances (of La Boheme) with our opera company. Likewise dozens of the world’s top
singers. Other "side-shows" for 2014 include ‘Opera
on the Beach’, ‘Opera on the Harbour’ and ‘The King and I’. So the company moves further and further away
from the Mission Statement which was on their web site when Mr Terracini became
the head honcho.
Comments by Andrew Byrne ..
