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A little fall of rain: Marina Rebeka steps into a damp Traviata in Naples

Por , 16 julio 2024

The Teatro di San Carlo has once again revived one of the best-loved and most-performed operas in the world – La traviata, in a staging aimed at an audience that prefers a traditional, poetic reading of Verdi's opera. This production by director Lorenzo Amato is convincing for its intimate dramaturgy with the music. It reflects on thwarted love, illness, the inevitable passage of time, arid social conventions, hypocrisy, sacrifice and, finally, death.

Marina Rebeka (Violetta), Kang Wang (Alfredo) and ensemble
© Luciano Romano

The greatest difficulty for directors in staging Traviata is how to represent a drama that has become universal, freeing the work from conventional interpretations that indulge sentimentalism. Amato's reading is simple and evocative, emphasising the profound loneliness of the characters.

The director's work in this production focuses intensely on delving into Violetta's inner world, examining her struggle to reconcile societal expectations with her impending death. This internal conflict is vividly illustrated by contrasting Violetta's longing for eternal youth and beauty, as expressed in her aria “Sempre libera”, with the stark reality presented by the libretto: a young woman fated for an early death, striving for happiness within a hypocritical society.

Marina Rebeka (Violetta)
© Luciano Romano

Ezio Frigerio's set designs evoked a fin de siècle atmosphere, intentionally ambiguous to bestow the production with a timeless, ethereal quality. This choice emphasises the universal nature of the human tragedy being portrayed. In contrast, Franca Squarciapino's exquisite costumes reflect the historical period of the narrative, anchoring the story in its intended era. Central to the stage design is a backdrop as transparent as glass, from which a constant flow of rain falls, serving both a literal and symbolic function. The stylised portrayal of Paris as a grey, rainy city reinforces themes of alienation, melancholy and suffering.

Marina Rebeka (Violetta)
© Luciano Romano

Stepping in to replace an indisposed Lisette Oropesa, Latvian soprano Marina Rebeka rendered a sincere and moving portrait of Violetta, intense and dramatically profound. She has a rather flexible voice, with a clear and deep timbre and a confident emission, which she used to reveal Violetta's inner turmoil. In the final act, she effectively alternated hope and desperation. From the reading of Germont's letter to Alfredo's arrival, Rebeka moved from one emotional state to another with ease, using her excellent vocal and acting skills to give us a touching interpretation of authentic lyricism. The peak of intensity was reached in Act 2 with “Amami, Alfredo!”, sung with touching pathos.

Laura Ulloa (Annina), Marina Rebeka (Violetta) and Luca Salsi (Germont)
© Luciano Romano

Kang Wang's rendition of Alfredo was good but not exciting, as he needed more depth of characterisation. Furthermore, his tone was not as sincere as one would expect, while his voice was light at times. However, the tenor's phrasing was quite refined and the quality of his acting was satisfactory; a plausiblly fervent and remorseful lover. As Giorgio Germont, Luca Salsi displayed a robust baritone and intelligent phrasing, along with the gravitas that allowed him to sing the aria “Di Provenza il mar” beautifully. The rest of the cast was also good, with Clarissa Leonardi (Flora) and Laura Ulloa (Annina) standing out with their excellent performances.

Giacomo Sagripanti conducted one of Verdi's most lyrical works with a certain caution, without too much daring, even in scenes where a little more passion and strength would have been appreciated. 

***11
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“a sincere and moving portrait of Violetta, intense and dramatically profound”
Crítica hecha desde Teatro di San Carlo, Naples el 14 julio 2024
Verdi, La traviata
Teatro di San Carlo
Giacomo Sagripanti, Dirección
Lorenzo Amato, Dirección de escena
Ezio Frigerio, Diseño de escena
Franca Squarciapino, Diseño de vestuario
Fiammetta Baldisseri, Diseño de iluminación
Orchestra del Teatro di San Carlo
Coro del Teatro di San Carlo
Marina Rebeka, Violetta Valéry
Kang Wang, Alfredo Germont
Luca Salsi, Giorgio Germont
Clarissa Leonardi, Flora Bervoix
Laura Ulloa, Annina
Giacomo Leone, Gastone de Letorières
Gabriele Ribis, Baron Douphol
Pietro Di Bianco, Marquis d'Obigny
Lorenzo Mazzucchelli, Dr Grenvil
Salvatore De Crescenzo, Giuseppe
Giuseppe Scarico, Flora's servant
Ville Lignell, Commissioner
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