Opera – Page 4 – Theatre Press

The Lady of the Camellias blooms eternal

By Christine Moffat

La Traviata by Verdi is one of the most often performed and best beloved operas in the world. It tells the tragic tale of courtesan Violetta Valery. She falls for young and earnest Alfredo, but is convinced by his father Giorgio to give up her happiness for the good of his family. When Giorgio realises he has wronged a good woman, and brings Alfredo back to Violetta, it is of course too late, and she dies of tuberculosis in her lover’s arms in the famous finale.

This production marks the 10^th anniversary of Melbourne Opera, and La Traviata was also the first opera staged by the company. It is a great celebration of the achievements of Melbourne Opera, a company that is dedicated to providing accessible opera in Melbourne. This production is particularly accessible for a few reasons; it’s performed in English, the ticket prices start low, and the relatively modern costuming all add up to a production that is relatable and engaging for an audience new to opera and for those eager to see their favourite works revisited .

Soprano Antoinette Halloran is particularly moving as the doomed Violetta. Her performance was believable and touching, and her voice is superb. Another stand-out performance came from Manfred Pohlenz in the memorable role of Giorgio, Alfredo’s interfering father. Vocally the entire cast was strong, and the energetic Melbourne Opera chorus were a highlight. The costuming by Andrew Bellchambers and Linda Britten was especially good, ranging from luscious ball gowns to simple country dress and suggesting each character’s place in the world and their individual lifestyle instantly.

The evening lasted three hours with two intervals, but felt much shorter – a testament to how entertaining the performance was. If you are an opera buff, it is a fresh, lively production of an old favourite. If you have never seen an opera, this production would be a brilliant introduction to the genre.

Performances:

Athenaeum Theatre, 188 Collins St, Melbourne

September 15 – 3.00pm, September 18 – 7.30pm, September 20 – 7.30pm

Alexander Theatre, Monash University

October 11 – 8.00pm

Tickets: $25 – $98

Bookings: www.ticketek.com.au and www.Monash.edu.au/mapa/

Simply – see this

By Bradley Storer

Victorian Opera undertakes a gargantuan challenge, both technically and artistically, with their production of Stephen Sondheim’s Sunday in the Park with George.

This Pulitzer Prize-winning exploration of the life of French artist Georges Seurat and his painting ‘A Sunday Afternoon on the Island of la Grand Jatte’, and the life of his fictional descendants, indelibly changed the landscape of the Broadway musical when it premiered in 1984, and the shadow of the original production is hard to escape. An opera company attempting to mount the musical presents even more challenges, given the fundamental differences between the art forms.

I can happily say that Victorian Opera has risen to the challenge and exceeded it spectacularly. The set design alone, inherently important to the meaning of the show, is astonishing. A simple bare scaffold and a winding staircase unfolds into a continual array of surprising and delightful scenes – trees, buildings, sketches and pieces of George’s work fly in and out, all contained within a frame that resembles the outline of an artwork.

Alexander Lewis as the artist Georges Seurat brings a humanity, vulnerability and anguish to the role, as well as a flawless operatic tenor voice – for this reviewer, he lacked the fire and intensity at times needed to believe him as a visionary artist, but this is a small complaint. Christina O’Neill as his lover Dot overplayed her sensuality and sexuality at the beginning to a strident degree, but in the character’s more reflective moments she was perfection, and as this quality became more pronounced over the course of the show O’Neill created a strong and heart-breaking character who, more so than even George, is the soul of the show.

Nancye Hayes as George’s mother is hilariously understated and her Act One duet with Lewis ravishes with its delicate loveliness. The ensemble of Sunday, a mix of musical theatre and opera singers, are uniformly strong, all bringing hilarious and touching characterizations . The finale of Act One, the culmination of George’s work in assembling his masterpiece, is a glorious tribute to the power of art to create meaning in the human condition.

Having attended a panel discussion with the artistic team for Sunday, it is clear that this is a labour of love from an ensemble of artists that have enormous respect for the work and a singular vision for its creation. Here this union creates a magnificent production, a stunning and original artistic vision expertly executed and a triumph for all involved.

Venue: The Playhouse, Arts Centre Melbourne, 100 St Kilda Rd

Dates: Sat 20 , Tue 23, Wed 24, Thur 25, Fri 26, Sat 27 July at 7.30pm and Wed 24, Sat 27 July at 1:00pm

Bookings: www.artscentremelbourne.com, Ph: 1300 182 183