This La Traviata is better heard than seen

The Florida Orchestra's music is very good, and the three key singers in the production are worth hearing, but the ensemble scenes that establish feelings are wanting.

By JOHN FLEMING, Times Performing Arts Critic

© St. Petersburg Times, published May 7, 2000

TAMPA -- Nothing is more melodramatic than La Traviata, heard Friday night in a production by the opera company of Tampa Bay Performing Arts Center. Judging from the cries of "Brava!" throughout the evening, the crowd loved it.

But opera is not just melodrama. The musical depiction of relationships is what it is all about. Without an emotional connection between principal characters, all their singing about love and death is just a lot of beautiful noise. There's nothing wrong with that, of course, but so much more exists in Verdi's most intimate opera.

Traviata is a model of simplicity. Everything revolves around Violetta, a courtesan in Paris. Against her better judgment, Violetta (Frances Ginsberg) falls in love with Alfredo, a hotheaded swain from Provence. Alfredo's father, Germont, breaks up the scandalous liaison. Alfredo (Gabriel Gonzalez) humiliates Violetta at a party. Germont (Robert Overman) tries to make amends. The lovers reunite, but it's too late. Violetta is dying from consumption.

These three singers are worth hearing, with a few caveats, and they're often quite impressive in the famous solo set-pieces of Traviata. But in the ensemble scenes that establish feelings among the characters, they tend to sing at each other, not with each other. Their relationships are superficial.

Ginsberg was better in her slow, introspective arias than in the vocal acrobatics of Sempre libera ("Always free") and other party-girl numbers. Gonzalez went badly flat in Alfredo's first duet with Violetta. Otherwise, soprano and tenor blended beautifully, but their passion seemed more theoretical than genuine.

Overman was a softer, gentler Germont than the heavy baritones who have defined the role of the meddling patriarch. He gave a nicely polished performance, but the tonal contrast between Violetta and Germont in their Act 2 confrontation lacked the bluntness that gives it dramatic punch.

Among supporting roles, Timothy Truschel was in good voice as the Baron, and Sharon Reaboi's servant Annina was suitably solicitous to her mistress, Violetta.

James Lucas' direction was as traditional as can be, an approach that had its advantages, as in the colorful masquerade of gypsies and bullfighters in Act 2, featuring Michelle Campbell and Darren Frazier as the Spanish dancers.

The chorus sang and moved around the stage well. The sets from Orlando Opera were sumptuous.

But the raffish quality of Violetta's world got glossed over. Any hint of sex was studiously avoided. This was a family-values Traviata.

Fortunately, there was always Verdi's orchestra music, with Anton Coppola conducting the Florida Orchestra. From time to time, Coppola had to rein in the singers, who had a tendency to rush in complex scenes. He brought out lovely touches in the score, such as the mournful clarinet solo accompanying Violetta's writing of a letter to Alfredo. In many ways, the orchestra was the best part of the performance.

Opera Review

La Traviata has a performance at 2 p.m. today at Tampa Bay Performing Arts Center. Tickets are $24.50-$55.50. Call (813) 229-7827 or (800) 955-1045.