‘embracing its traditional 19th Century origins, it delightfully delivers opera’s most emotionally charged drama and music’
Ellen Kent’s latest revival of her original production arrives in Manchester where embracing its traditional 19th Century origins, it delightfully delivers opera’s most emotionally charged drama and music with a story that still resonates strongly today. At its heart lies a love story that draws upon Alexandre Dumas the Younger’s real-life doomed love affair with well-known courtesan, Marie Duplessis.
We open with Violetta (Viktoria Melnyk), aided by her friend Flora (Yelyzaveta Bielous) hosting a lavish party where she is introduced by Gastone (Ruslan Pacatovici) to his friend, Alfredo Germont (Hovhannes Andreasyan), a fervent admirer, who is more concerned for her failing health than her escort, Barone Douphal (Vitalii Cebotari). When Alfredo declares his love for her, she wonders if he could be the one amidst her desire to be free to live her life.
A year on and Alfredo and Violetta have been living together for some time in an isolated country house. He soon learns from maid Annina (Alina Dascova) that Violetta is having to sell her possessions to maintain them, and he hurries to Paris to sort his affairs. His father, Giorgio (Iurie Gisca) arrives and endeavours to persuade Violetta to end the relationship.
At a party in Paris, the Marchese (Eugeniu Ganea) informs Flora that Alfredo and Violetta are no longer together, much to everyone’s amazement. The arrival of Alfredo followed by Violetta with the Baron leads to an inevitable confrontation as Alfredo is challenged to a duel. As we are thrust towards our final scene, does an ever-present Doctor (Hovhannes Nersesyan) suggest there is time for wounds to be healed? Will our lovers be reconciled when the truth finally unravels? Well, you’ll have to come and see for yourself as this production continues its UK tour.
Sung in its original Italian with English surtitles, prepared by Mariia Maliuta, the chorus performed with gusto under the guidance of Stage Director Victor Donos, with the ‘Coro di Mattadori Spagnuoli’ – a spoof on Bizet’s Carmen – standing out with wonderful cameos from Chorus Mistress Kateryna Kondratenko-Savienkova as the matador and Pacatovici as the maiden.
Kent’s productions are all about attention to detail and this was evident in her presentation with inspired perspective backdrops and use of statuettes and floral arrangements in conjunction with Valeriu Cucarschi’s lighting arrangements to subtly transform each scene. This is the lesser performed of the three touring productions, but with this its fifth outing, there were some significant improvements from an earlier performance that was pleasing to see.
Verdi’s sublime score contains some of his most inspired arias and duets including Violetta’s introspective ‘Ah fors’è lui’ and hedonistic ‘Sempre libera’; Violetta and Giorgio’s poignant Act II encounter; and Alfredo and Violetta’s ‘Parigi, o cara’, in which they dream of a happy future, and we were swept along in the meticulous hands of maestro Vasyl Vasylenko, who created a warm and rich palette from a youthful yet accomplished Orchestra of the Opera International, Kyiv who played with real verve.
Andreasyan’s sensitive portrayal of a young man lost before his emotional vulnerability turns to ire was pleasing to watch with strong character development and a composed and more confident vocal performance.
Gisca’s Giorgio continues to display guile and cunning in his desperate attempt to protect his family’s honour with a strong performance and good use of the stage embellished further by his impressive duets with Melnyk.
Melnyk delivered a strong vocal performance as Violetta, in complete command from the beginning, delivering her first act solo with assurance and a strong tone that continued throughout including hitting her high C. There was a notable step up in her dramatic portrayal although the tendency to slip into a concert-style performance and sing directly to the audience remains. If she can concentrate and maintain her focus on staying in the scene, with her delightful voice that hits the high notes with ease, she could become a consummate diva.
La Traviata is one of three productions touring throughout the UK with full details available at www.ellenkent.com.
Reviewed: 24th March 2026
Star Rating: FOUR