Svoboda’s mirrors continue to provoke interesting considerations. Titled above the stage, they project a birds-eye-view of the action to the audience, making voyeurs of us all.
Daisy Evans' take on Verdi's iconic tale of love stymied by the cruelty of others is characteristically innovative and insightful, while also blessed with a remarkable central performance from Anna Patalong.
Opera Holland Park starts its 2018 season with a bang (and a cough), offering a splendid new production of La traviata. Lauren Fagan is a sensational Violetta, but the production is a real company effort and achievement.
The quality cast purred, but glorious roars are required to jolt audiences from placid enjoyment of Opera Australia’s gorgeous 24-year-old production of this Verdi classic.
Despite the entertainment value and striking imagery, Kramer's production is a surprisingly dull affair, with curiously little chemistry between the lead couple.
Tokyo's New National Theatre is currently celebrating its twentieth anniversary season with three new productions and revivals of their most popular productions including Vincent Boussard’s minimal yet colourful Traviata.
There are no answers, nor indeed many probing questions, in this Scottish Opera revival of Sir David McVicar’s production from 2008, but it is sumptuous and enjoyable.
Two years ago, Russian soprano Ekaterina Bakanova was thrust into her Royal Opera debut, stepping in at short notice as Violetta. Her triumph was enough for the powers that be to offer her a run of five performances this month.
Tom Cairns' production feels empty and distracted, but Kristina Mkhitaryan was a sensational Violetta, strongly reinforced by an impressive Germont from Igor Golovatenko.
Netrebko's Violetta is now fuller in body and voice than in her former incarnation. Goodbye to the fresh-faced damsel we saw in Salzburg; hello to a larger-than-life courtesan in her twilight years.
About halfway through the second act of Verdi's La traviata at the opera's second Met performance of the season, soprano Sonya Yoncheva went from being a really good Violetta to being a great Violetta.
Robert Wilson's new production of La traviata in Linz succeeds in communicating the emotional depth of Verdi's tragedy despite his stylized minimalism.
This revival of a 2012 staging by Ferzan Ozpetek tells the story efficiently, while conductor Nello Santi only at times made us experience all the emotional depths this opera contains.
Any revival of La traviata stands or falls by its principals and their ability to inhabit the roles rather than merely sing them prettily. A good revival director helps.
In his production of La traviata for the Swedish Royal Opera, Kasper Holten puts Violetta in a strip club and on the streets. Both the staging and the music are excellent, though the cast's acting is uneven.
Two years ago, when this controversial production by Peter Konwitschny was first seen at English National Opera, I was completely knocked sideways by it. Could it deliver the same emotional blow to the solar plexus this time around?
This dark production of La traviata may have obscured some of the more romantic elements of Verdi’s drama, but the music had all of the vitality to match La Fenice's sparkle.
Tom Cairns’ Glyndebourne production features svelte costumes and sets, yet – unlike Verdi’s response to Marie Duplessis’ fate – Violetta’s tale left me entirely unmoved.
A dark and minimalist take on Verdi's beloved La Traviata misses the point at the Staatsoper im Schiller Theater in Berlin. Only the Staatskapelle Berlin orchestra and Alfredo Daza (Germont) emerge with credit.
Matthew Richard Martinez reviews Los Angeles Opera's season-opening performance of Verdi's La traviata starring Plácido Domingo, Nino Machaidze, and Arturo Chacón-Cruz.
Stylish, intelligent and visceral, with a magnetic central performance by Claire Rutter, Grange Park give us a powerful, tough La traviata updated to 1950s Hollywood.
A great deal of the audience were in the house for La traviata last night for the chance to see Diana Damrau and Dmitri Hvorostovsky. They will not have been disappointed: these were performances of the very highest quality by two very fine singers, with Francesco Demuro all but matching them.
The new Traviata at the Lyric Opera is both hyper-traditional and, in moments, saucily modern. In broad strokes, it looks like many another Traviata that has come before, though a twinge of visual ambition goes past such clichés.
OperaUpClose have set their version of Verdi’s classic in the 1920s, with some beautiful period costumes and a few prettily observed production details It’s a big story on a very small scale.
I left the Sydney Opera House last night feeling vaguely dissatisfied, and yet a bit puzzled at my dissatisfaction. La Traviata is chock-full of Verdi’s most glorious music, and well though I know the score, I wasn’t feeling in the least jaded to begin with.
Opera Project’s production of Verdi’s famous and arguably most-loved opera La Traviata was not lacking in impact, considering it was a small-scale production. This being the second time I have seen an Opera Project production, I am certainly not dissuaded from seeing what they come up with next.
Of the many and varied operatic openings, that of La Traviata is one that I find increasingly demanding on an emotional level. The mournful harmonies and diaphanous scoring for strings that start off the prelude notoriously portray ill-fated Violetta moments before she dies of TB, returning in the final act as her destiny is about to be fulfilled.
Jane McCulloch’s production of La Traviata is currently playing in the small Studio Theatre at RADA. The intriguing setting of Berlin, 1938, is rendered subtly, through wonderful 1930s costumes designed by the director, and references to Berlin life in McCulloch’s new translation.
