Review: La TraviataLa Traviata: Opera New Jersey presents one of Verdi's most popular works.The Princeton Packet (Stuart Duncan) Before the opening performance of La Traviata, the lobby of the Berlind Theatre was filled with the buzz of anticipation, of excitement. At intermission, the same place was filled with the buzz of satisfaction and congratulations. And after the performance, it was filled with the buzz of awe. Opera New Jersey, in just five short years, has risen to the ranks of the first-tier among opera companies. It has been five extraordinary years of progress and of accomplishment in large increments, not only on the performance level, but educationally as well. La Traviata, of course, is one of Verdi’s most popular works, first performed at the Teatro La Fenice in Venice, Italy, in early March of 1853. By all accounts, that particular evening was a fiasco, but by the second performance, the following year — with a new cast and some clever insertions by the composer (most importantly a second-act duet between the heroine Violetta and her intended’s father) — the work became wildly popular. True, the role of Violetta has been accurately described as “devilishly difficult,” but audiences adore it. And the opening night performance showed clearly why Opera New Jersey has so quickly achieved high standards. From the beginning the mission has been to actively seek singers who may well not have reached the heights they will find, but are seriously working to reach those pinnacles, and offer them the opportunity to create and grow. This Violetta, for example, is being sung by Elizabeth Caballero, a Cuban-born soprano who has sung in Italy, Florida and at Carnegie Hall. The tenor is Michael Fabiano, fresh from La Scala and who appeared in Princeton two season back in L’elisir d’amore. Next, he will sing Pinkerton in Madame Butterfly in Colorado. And his comments might well be those of any in this company: “I want this career very badly; I am working very hard.” He then adds: “I’m green and I’m young. I have a lot to learn before I become the world-class tenor I want to be — but that’s my goal.” He has a warm, lovely voice and the opening night audience welcomed him happily. He is on his way. Another audience favorite was William Andrew Stuckey, Alfredo’s previously mentioned father. That duet, “Pura succone un angelo,” was stunning in its clarity and power. Fernando Raucci, only a youngster himself, conducted with extraordinary control, clearly encouraging the singers from the pit. And stage director John Hoomes used multiple and clever devices to unobtrusively suggest the mood of the piece. Notice, if you will, the ultra-slow rise of the curtain in the final act. |
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