Production of minimal means with fine singing

Verdi - La Traviata. Co-Opera production in the round. Albert Hall, March 8.

South Australian based Co-Opera returned to Canberra on Monday night with its new production of Verdi's popular opera La Traviata, a work which, because its essential musical content can be successfully realised by just seven singers, is ideally suited to a touring company such as this.

Of course, there is some pruning; but this is mainly confined to the first part of the third act. Flora's party scene, which adds colour but musically is not essential to the drama.

On a staging of simple platforms on differing levels and a perceptive use of lighting, and with the audience seated on three sides, there is a close interaction between audience and singers.

And for this presentation Co-Opera had added a small string group to the single piano accompaniment of its previous performances, the instrumentalists being placed on the fourth side of the staging and bringing a broader expressive support to the singers. Additionally, while the opera was sung in English, the principal arias were sung in Italian, an interesting innovation which was musically effective.

It is a very well sung presentation, with an exceedingly fine performance from soprano Teresa La Rocca as Violetta, her strong and richly expressive voice used with assurance and displaying a rich tonal quality matched to a impressive flexibility in her two notable arias Sempre libera in the first act and the tragic Addio, del passato in the fourth. She is ably partnered by tenor Lindsay Day in an equally strong vocal realisation of the role of Alfredo, and a particularly fine performance is provided by baritone Paul Blewitt as Alfredo's father, his excellently phrased and shaped singing of Di Provenza il mar in Act 3 another highlight of the performance.

In the supporting roles Jillian Chatterton (Flora), Imogen Roose (Annina). Philip Craig (Gastone) and Darian Johns (Baron Douphol) gave firm vocal support to the principals.

The production was directed by Tessa Bremner, and the fluent accompaniments were led by musical director Brian Chatterton from the piano.

It was a production of minimal means, but one in which the quality of the singing strongly maintained the dramatic impulse of Verdi's music, making for a constantly enjoyable presentation of this great opera.

W. Hoffmann, The Canberra Times, Saturday 13 March 1999.

Traviata on the SA Lake

For memorable theatre the audience and performer must engage each other.

Co-Opera conquered its audience despite weather, time, bilingualism and caterers, when it presented La Traviata at McLarens on the Lake on July 26. Firstly, the seven singers had to convince the ticket buyers on a cold, windy afternoon that they were part of an effervescent party in New Look Paris - not an easy task.

If anything argued for opera in the vernacular it was in the inclusion of Alfredo's often cut cabaletta which in Italian can sound like Di quella pira's anaemic little brother. Through Lindsay Day's Italianate ring and perfect diction this part of the drama roused all who heard it.

As Germont pere, David Perry's subtle weighting of words in a seamless Verdian line reduced many to tears. Smaller roles such as Flora (Jillian Chatterton), Annina (Imogen Roose) and Gaston (Philip Craig) made dramatic impact while young David Thelander as Violetta's latest playboy (the Baron) and as Doctor Grenvil is indelible.

By the end of Act II Scene 1 the audience was becoming engaged but it was the interval that McLaren's caterers united this mob of strangers. Nobody had turned on the urns for the complimentary tea and coffee. As a tiny jug of recently boiled water was repeatedly brought forth for the hungry hundred, and as the table with the luke warm water didn't have enough cups, and so on, we could only laugh. We were one in our gripes and mirth and felt like guests for the Scene 2 party.

We were ready to smile as Tessa Bremner's direction and choreography brought out the silliness of the guest's gypsy dance and so softened us up for the Baron's entrance, Alfredo's humiliation of Violetta and his father's reprimand. With scarcely a break the scene moved to Violetta's deathbed to leave the audience devastated by the tragedy.

To exemplify those who prefer opera sung in languages they do no understand let me quote an acquaintance, "I just let the lovely music wash over me. I don't go reading the libretto or anything extreme like that." Was he getting one tenth of the experience that opera can be and that Co-Opera richly provides?

John Lanigan-O'Keeffe, Opera Opera September 1998.


Triumph on a small scale

La Traviata by Verdi, premiered to great applause at the Festival Centre, before it plays in woolsheds and church halls around the country. It is a triumph for this small and indecently underfunded company, Co-Opera. Tessa Bremner sets the action in the 1950s. The women are in Sylvana Angelakis' elegant gowns, the men in dinner jackets. While the party scenes sparkle, they highlight the tragedy of a dying woman's search for love and acceptance. Teresa La Rocca, as Violetta, is a singer of great promise who grows in dramatic strength to a death scene of remarkable beauty and emotional depth. Both Lindsey Day and David Perry make dramatic and vocal breakthroughs here. The small supporting cast are fluent and attractive, with Jillian Chatterton's flirtatious Flora standing out. The stepped and draped rostra that make up the set designed by Joel Beclu provide many levels for the action. Brian Chatterton as conductor and accompanist must be praised. One peculiarity is that it's sung predominantly in English but every now and again the singers burst into Italian. Subtitles are not provided.

Ewart Shaw, The Adelaide Advertiser , Monday 20 July 1998

Back