Originally created for the Glyndebourne back in 2014, Tom Cairns' revelatory production is a Traviata for the ages. Revival director Laura Attridge has maintained the same commitment to simple, pared-down storytelling that makes it such an enduring success. The consistent, novelistic direction creates plenty of dynamic space in which the complexities of this heartbreaking and very modern drama can reveal themselves.
Hildegard Bechtler’s sumptuous design, as fresh, classic and eloquent as it was a decade ago, presents Violetta’s world of bright, young hedonism as the flip side of a Singer Sargent society portrait, with all that dramatic depth of contrast – the towering shadows and the slash of crimson centre stage – at once seductive and ominous. Bechtler has obviously kept her eye on Tatler’s society bash pages of late, judging by the well-chosen costume updates for the Glyndebourne chorus who, as ever, do a fabulous job of being the party everyone wants to be at, which is of course very much the point: this tragedy is as heartbreaking as it is irresistible.
Adam Hickox made an auspicious entrance to the pit as Principal Conductor of the Glyndebourne Sinfonia. Under his baton Verdi’s drama was given full scope in all its climactic extremes of contrast and thrilling detail. The deeply moving fragility of the prelude’s opening bars were soon contrasted with a brindisi at full tilt, and in “Amami, Alfredo” in Act 2 the heart nearly burst out of the score in a daringly sustained crescendo. A curiously over-tugged upper string sound in the prelude to Act 3 threatened to introduce a note of hysteria that was out of place in this otherwise perfectly calibrated performance. As Violetta bid her agonising farewell to Alfredo with the hope that he might one day find another young girl in the bloom of youth, the steady punctuation of funereal trumpets were a vivid reminder of Verdi's genius and that life – however beautiful – is shockingly brief. As the layers of Violetta’s finery were stripped away, so some of Verdi’s best-loved music revealed the layers of dramatic irony in one of opera’s most iconic roles.