‘a musical feast of sumptuous style and glittering glamour all rolled into one’
Director Simon Iorio’s current revival of Richard Eyre’s 1994 production delivers opera’s most emotionally charged drama and music that not only embraces and relishes its traditional 19th Century roots, but whose theme continues to resonate strongly today. At its heart lies a love story which draws upon Alexandre Dumas the Younger’s real-life doomed love affair with well-known courtesan, Marie Duplessis.
We open with Violetta (Ermonela Jaho) aided by her friend Flora (Ellen Pearson) hosting a lavish party where she is introduced by Gastone (Giorgi Guliashvili) to his friend, Alfredo Germont (Giovanni Sala), a fervent admirer, who is more concerned for her failing health than her escort, Baron Douphal (Sam Hird) or the Marquis (Ossian Huskinson). 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 (Veena Akama-Makia) that Violetta is having to sell her possessions to maintain them, and he hurries to Paris to sort his affairs. His father, Giorgio (Aleksei Isaev) arrives and with some guile tries to persuade Violetta to end the relationship.
At a party in Paris, much to everyone’s amazement, it is announced that Alfredo and Violetta are no longer together, with the arrival of Alfredo, followed by Violetta with the Baron, leading to an inevitable confrontation. As we are thrust towards our final scene, does an ever-present Doctor (Barnaby Rea) suggest there is time for wounds to be healed? Will our lovers be reconciled when the truth finally unravels? Well, you’ll have to see for yourself.
Now in its 32nd season, the production remains a highly engaging experience, enriched further by the sumptuous stage and costume design from Bob Crowley which perfectly captures the superficial glamour of 19thC Parisian high life whilst serving to contrast the intimacy between Violetta and Alfredo. The bare contrast of a new home in Act II is cleverly considered before a pervading darkness creeps into the heart-breaking final act where hope teeters on the edge of despair, with a subtle use of lighting from Jean Kalman. The choreography throughout from Jane Gibson is outstanding, most notably in Act II’s Coro di mattadori.
With Crowley’s design apparently inspired by a remark from Sir Georg Solti for the original – ‘I want big frocks!’ – it is interesting to note that with a cast including twelve principals, fifty-five chorus, nineteen dancers, and five actors, there are over 2,000 costumes on display: this is a musical feast of sumptuous style and glittering glamour all rolled into one!
Verdi’s sublime score contains some of his most inspired arias and duets which are delivered with aplomb, 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 are delightfully swept along in the capable hands of conductor Antonello Mancorda, who paints exquisitely from a rich palette provided by the Orchestra of the Royal Opera House.
Sala, on his house debut, captured the duality of Alfredo, from his shy naivety to his violent petulance, the latter none more so than in the aggression of the gambling scene.
Isaev’s paternal Giorgio was more matter of fact in his manipulation of both Alfredo and Violetta, leaning more towards stoic brutality than cunning, but it was a believable portrayal all the same.
A special mention for Pearson, Hird, Guliashvili, and Huskinson who are taking their first steps onto the international stage as part of the Jette Parker Artists Programme.
This is Violetta’s opera however and Jaho shone from the very beginning: not surprising when one considers she has performed this role over 300 times to very much make it her own. She sings effortlessly and with an assurance and strong tone that continued throughout, reflective of her character’s many parts, and complemented by a wonderfully expressive performance echoed in every gesture, eye movement, and turn. Verdi famously said this was a role for three different women: Jaho was all of them tonight, although it is interesting to note that two other wonderful sopranos – Pretty Yende and Rachel Willis-Sørensen – will also be stepping into the role during this run.
Review Date: 14th January 2026
Star Rating: FIVE