xn--vrossignol-b7a: La Traviata, Wiener Staatsoper, Wien 4. May 2009

Selasa, 05 Mei 2009

La Traviata, Wiener Staatsoper, Wien 4. May 2009

4. Mai 2009

LA TRAVIATA
(274. Aufführung in dieser Inszenierung)

Dirigentin: Marco Armiliato
nach einer Inszenierung von: Otto Schenk
Bühnenbild nach Entwürfenvon: Günther Schneider-Siemssen
Kostüme: Hill Reihs-Gromes
Chorleitung: Thomas Lang

Violetta Valéry: Anna Netrebko
Alfredo Germont: Joseph Calleja
Giorgio Germont: Vladimir Stoyanov
Flora Bervoix: Zoryana Kushpler
Annina: Donna Ellen
Gaston: Marian Talaba
Baron Douphol: Clemens Unterreiner
Marquis d'Obigny: Hans Peter Kammerer
Doktor Grenvil: Alfred Šramek

Yesterday, on 4. May 2009, the opera diva Anna Netrebko was back on stage at the Wiener Staatsoper as Violetta Valéry, for the sold-out premiere of La Traviata in a classical Otto Schenk's production. Anna was partnered on the stage by Joseph Calleja as Alfredo Germont and Vladimir Stoyanov, replacing the originally scheduled Alberto Gazale, as Giorgio Germont, in the leading roles. Two more sold-out performances, with the same cast, are scheduled at the Wiener Staatsoper on 7. and 11. May 2009.

Our blog friend Herbert attended the first of the three performances. He reports that the audience was enthusiastic, that Anna and Joseph Calleja got many curtain calls and that the first reviews are very good. Herbert reports:

Still, compared to Zürich, I had the impression that Anna's voice was sometimes a bit strained - maybe because of her trip to St. Petersburg? She often says that Violetta is a very exhausting role and she can't sing it too often, she needs some rest between the performances. So the concert at the Mariinsky Theatre was no real recovery.

But even when she had some minor problems in between - she was excellent. Especially the duet with Germont (Vladimir Stoyanov) and the dying scene were past comparison. Joseph Calleja as Alfredo is a very good partner. I am looking forward to seeing him again with Anna in La Bohème in München.

The Zürich production was very modern - here in Wien it was a traditional production and setting, but not bad. Anna could wear lavish costumes and jewelry again.

After the show there was the usual crowd and jostle at the stage door. Anna accepted to be photographed with her fans and she signed lots of CDs and photos, etc.

Our blog friend Rhodri also attended the first performance and wrote a report for us:

The Salzburg Traviata. That was my first encounter with Anna Netrebko and ever since I´ve desperately wanted to see her as Violetta. When she was scheduled to sing the role with the ROH in early 2008 I thought I´d struck it lucky but then disaster struck in the form of bronchitis and she cancelled the performance I was due to see, but fortunately Vienna came to the rescue. Rising at four in the morning has never been my favourite past time but for once I´m glad I made the effort. As a fellow opera goer said to me after the performance had ended - "I could sit through it once again right now."

It was that good. Netrebko gave a performance as compelling, in my admittedly uneducated eyes, as the one she gave in Salzburg. However, this was a different Violetta than the one who had dazzled in red. Gone were the Olympic style gymnastics, instead the Violetta on the stage seemed a far more mature creature, and one already, it appeared to me, to be willing to fore-go her life of Sempre Libera lifestyle. Maybe it´s a lazy assumption to make but this new found approach to Violetta could be due to the recent changes in her life. Whatever the reason she gave a performance that exuded self awareness and knowledge of the profundity of her situation. The desperation in the final scene was palpable in the audience as the revellers partied almost tauntingly outside her window.

And the rest of the cast? In order for Traviata to work there has to be three singers of equal abilities and thankfully in the shape of Joesph Calleja and Vladimir Stoyanov the triumvirate was complete.

Calleja (Alfredo), on Monday´s night performance should consider throwing in the odd off colour performance otherwise he will be in danger of singing the role for the remainder of his career. The most pleasing aspect of his performance was how he married the sweet lyrical nature of his voice to a surprisingly powerful engine.

As Giorgio Germont Vladimir Stoyanov accomplished the difficult skill of having to be a man at least twice his age without ever falling foul of the great risk in this role and overstating the character´s age. He allowed the music to guide him and as such he never over sang his role.

As for the Vienna Phil they were simply sublime - from the haunting opening to the final notes of the opera they gave the singers the greatest support imaginable and guided by Marco Armiliato they breathed life into Traviata and brought new aspects of the piece to my ears.

Before I travelled to Vienna I was aware that the city had taken Netrebko to their hearts, but I wasn´t prepared for how much they had done so. As soon as the final curtain fell a huge roar erupted around the house and there followed a ten minute standing ovation. But this was no "love-in" ovation, because I would dare any house in the world not to react in the same way after a performance of great skill and artistry from all concerned...

Our blog friend Irina, owner of the blog Around the world with Irina, also attended this performance and wrote a detailed report on her blog. You can find also there a nice album of photos covering spectacular views of the house, curtain calls and signatures session at the stage door. Some of those photos are included here with her kind permission.

Photos
Poster, curtain calls and stage door photos 1, 11-12, 16-19 by Herbert. Curtain calls and stage door photos 2-10, 13-15 by Irina.