Garsington Opera House's season has opened opera "La Traviata"« , one of Verdi's operas from his middle period (he was not yet 40 when it was first performed at La Fenice in Venice in 1853), and still one of the most popular in the repertoire. Verdi's early middle age was a time of incredible productivity. The scope of his inventiveness is astonishing, which is clearly heard in this opera. The inspiration for «La Traviata» A trip to Paris in 1852 served as a catalyst; Verdi saw a production of Alexandre Dumas fils' opera «"Lady with Camellias"» , which tells the story of the suffering of a fallen woman. Dumas adapted the play from the book of the same name, inspired by the death of his former lover from tuberculosis in 1847.
Verdi wanted to create an opera in a modern context, but the management of the Teatro La Fenice, his clients, preferred something more ancient, and he was forced to move the action to the beginning of the 18th century.
This was driven, in part, by concerns that some local aristocrats might believe their own scandalous lives with courtesans were depicted in the opera. As Verdi's reputation grew, he was free to interpret productions in his own way, and from the 1880s onward, it became common to transport the opera to the mid-19th century. The Garsington Theatre took some liberties in this regard, quite appropriately and successfully, staging the work in Paris on the eve of World War II.
The picturesque surroundings of Garsington Opera House near High Wycombe, Buckinghamshire - Clive Barda
Every opera director's goal should be to ensure that every audience member, the next time they see a production of this work, is left disappointed. I'm sure that will be the case with this version. «La Traviata» . Last week, when I saw it, it was flawless in most musical respects, and the production itself was perfect and a wonderful spectacle. The three key roles were sung by American soprano Madison Leonard as Violetta; Ukrainian tenor Alexey Palchikov as her lover, Alfredo; and Roland Wood as Giorgio, Alfredo's father. One measure of how far Garsington has risen in opera house ranks in recent years is the caliber of singers typically heard there.
Madison Leonard and Alexey Palchikov as lovers Violetta and Alfredo — Alastair Muir
Another criterion for evaluation is the quality and tone of the productions. They are always sumptuous and original, but not so radical as to alienate the audience, as is often the case with modern productions. This «La Traviata» Not only does it live up to Garsington's traditions, it surpasses them. The opera's director, Louise Müller, deserves all the accolades already received for this achievement. Müller has undoubtedly succeeded by avoiding the temptation to be too abstruse.
The same can be said about Bruno Ravella's brilliant production. «The Knight of the Rose» , which I mentioned here when it first premiered in 2021 and which is reviving this summer. Garsington understands the importance of giving its audience what they want, while balancing it with new productions. Some of the latter are quite old—the company has never staged them before. «La Traviata» , but she also skillfully finds new and more contemporary entertainment. This year it is Gerald Barry's opera based on Wilde's play "« The Importance of Being Earnest» . Garsington, located in Buckinghamshire, has a significant loyal clientele and understands the importance of diversifying and expanding its repertoire if its audiences are to avoid becoming stale.
Hannah Hipp (Octavian) and Derrick Ballard (Baron Ochs) in the 2021 production of Der Rosenkavalier, which is revived this season - Alastair Muir
Douglas Boyd conducted the Philharmonia Orchestra with impeccable skill opera "La Traviata"« , and as the company's artistic director, he is another pillar of Garsington's success. He will also conduct opera "The Importance of Being Earnest"« and brings to his work experience conducting first-class orchestras in concert halls and opera houses around the world.
There is another aspect of her productions that is often taken for granted, but which truly sets her apart: the superb singing and acting of the chorus. This was evident in the complex ball scenes in «La Traviata» , and this is thanks to the care Garsington takes of his chorus. All chorus members are members of the company's Young Artists Support Program, and they either understudy the lead role during the season or sing supporting roles. The power and quality of their voices not only makes the chorus shine but also demonstrates the teamwork necessary for the opera's success.
If you manage to find tickets for «La Traviata» or a renewed production «The Rose Knight» — and they are extremely rare — be sure to buy them, because they are an unforgettable experience. In addition to this and the Barry Theatre, the troupe puts on «The Return of Ulysses» Monteverdi. This is arguably the best opera in the country right now, so if you have the chance, be sure to see one.
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