LA TRAVIATA
DIRECTOR: Angelo Gobbato
CONDUCTOR: Kamal Khan
CAST: Students of the UCT Opera School and members of the UCT Symphony Orchestra
CHOREOGRAPHER: Sean Bovim
VENUE: Artscape Opera House
UNTIL: May 9
RATING: ****
ANGELO Gobbato’s elegant staging of this Verdi master-piece will please purists who dislike the current tendency to update or modernise classic works, regardless of how appropriate such an exercise may be. The enduring relevance of issues address in La Traviata (such as moralistic bigotry) is not likely to be lost on 21st century audiences – so period costumes and props do not detract in any way from the opera’s timeless quality.
However, 19th century crinoline, candelabra and antique furnishings are offset by edginess in Michael Mitchell’s austere set, and this is also reflected in the youthful energy which the student cast applies to Verdi’s heart-wrenching arias and full-throated choruses.
Their zest is infectious and in keeping with the spirit of the pleasure-obsessed society to which the female lead belongs.
This is no historical reconstruction of the Parisienne demimonde of 1853 – it is a lively depiction of young people pursuing sensual delights, the back-drop to a tragic love affair.
Opening night featured soprano Noluvuyiso Mpofu as Violetta with tenor Thobela Ntshanyana as Alfredo. Both sang with impressive authority, and unlike many professional artists, they enjoy the natural advantage of being the right age to portray their respective personae. Violetta is in her early 20s and Alfredo, a student, is somewhat younger.
This significantly enhances their credibility.
Mpofu’s agile rendition of the familiar Cabaletta (Sempre libera) from the aria Ah, fors'è lui left little to be desired while her extended solos in the final scene of the opera had hands groping for tissues.
Ntshanyana’s ear-caressing tenor has great promise, but he needs to address characterisation. His Alfredo lacked emotional intensity despite going through the emotions of passion, jealousy and despair. The latter were not fully internalised – but the calibre of the singing is such that this can be forgiven. For now.
Baritone Mandisinde Mbuyazwe was outstanding on every count as Germond, his vocal performance matching the depths and intelligence of his interpretation.
Few would credit that he’s not yet a seasoned professional.
The poignant trio in which he joined Mpofu and Ntshanyana in Act 3 was a highlight of the evening.
Another highlight was the spirited Spanish dance in Act 3, choreographed by Sean Bovim and executed with brio by a quartet of students from the UCT School of Dance.
With sterling input from the UCT Symphony Orchestra under Kamal Khan’s baton and a chorus well-honed by rehearsal, this joint production from Cape Town Opera and the UCT Opera School offers opera lovers a worthy reading of what is arguably Verdi’s best loved work.
Bravi tutti!