Kristina Mkhitaryan as Violetta | Photo: Tristram Kenton

****

First staged in 1994, Richard Eyre’s iconic production of La traviata (revival director Bárbara Lluch) is a gold standard for period presentations of the work - and a safe but satisfying finish to the Royal Opera House’s 2022/2023 season. The exposition is saturated in 19th century opulence, with every costume, prop and inch of the set design capturing the sensational glamour of the Parisian Salon party culture. Whilst the setting is visually lavish, the staging and direction has an uncluttered simplicity, making space for the performers to use their chemistry and vocal artistry to make the audience fall in love with and have our hearts broken by the fate of Violetta Valéry.

Kristina Mkhitaryan handled Violetta’s drama and vulnerability with tremendous amounts of care, from the very first moment we see her, stifling a cough in the sombre shadow of the overture’s opening bars, deftly handled by conductor Keri-Lynn Wilson. Mkhitaryan has the necessary dramatic nuance of a woman living the double life of a famed courtesan facing loving one person, and an ardent liver of life facing death. Her moments of tragedy were more convincing than her more joyous moments in the opening scene - a level of excitement around the party scene was never quite established, with a slightly staid chorus. However, 'Sempre libera' showed off every sumptuous corner of her voice and she didn’t let the complexity of the coloratura overshadow her expressiveness and depth of tone.

Liparit Avetisyan presented a youthful, spirited Alfredo, quick to access the heights of his emotions and express them fearlessly. His voice reflected this with comfortable consistency and he sounded both earnest and excitable in his Act 1 duet with Violetta. Their chemistry developed as the scene progressed and the warmth of their voices balanced beautifully. 

Act II, despite a more sedate country house setting, remained exhilarating as the interpersonal relationships were explored. Avetisyan handled the demands of De Miei Bollenti Spiriti with consistent energy, and Juan Jesús Rodríguez as Giorgio Germont was a stand-out in this act, his voice was luxurious and stable across the range. His sincerity, in the face of a situation that is difficult to fully relate to, was believable, even sympathetic. It amplified the devastation, and Mkhitaryan met him with riptides of conflict, acceptance and grief. The escalation of the Act II finale was fully rendered, with the dancers adding some fire to the stage, and the growing tension was effectively portrayed in both the orchestra and ensemble. The more subtle precision and full scale of the scene were fully encapsulated with the tableau at the end of the act, a well produced and carefully constructed detail.

The desolate contrast of the final act carried tremendous poignancy, as we are invited to Violetta’s death bed in a darkened room that is, much like the eponymous character, a shell of a faded glory. Mkhitaryan was at her strongest in this act, and 'Addio del passato' was spun like silk yet had a knife-like clarity in some daring pianissimo moments. Both the orchestra and on stage performers were at their most expressive during Violetta’s final moments, with Avetisyan and Mkhitaryan both finding their most comfortable physical connection with each other, and followed the journey of hope and devastation in a believable way.

The production grew in power as it progressed, and was at its most powerful during moments of conflict and tragedy. Whilst it didn’t wander far from the standard formula of what makes Traviata a classic work, it was delivered exactly that, with refinement and conviction.

Until 23 July roh.org.uk