La Traviata

Raise Your Glasses

La Traviata

by Giuseppe Verdi, libretto by Francesco Maria Piave

Barefoot Opera, Grimeborn Festival at Arcola Theatre, Dalston until 28^th September

Review by Heather Moulson

In revisiting Verdi’s evocation of decadent splendour, it is impressive how the Barefoot Opera company’s directorial team, led by artistic director Jenny Miller, successfully uses a small cast in the Arcola’s limited space to recreate the lavishness of La Traviata. 

In a monument performance as Violetta, Turkish soprano Beren Fidan captures all her glamour and all her loneliness in a perfect pitched portrayal.  Violetta is a high class escort and lover to the edgy Barone Douphoi, imposingly performed by baritone Owain Gwynfryn.

The baron unwittingly gives way to Alfredo to propose a toast to Violetta.  Alfredo has fallen in love with Violetta, and when he declares his feelings to her, she begins to realise that she has found love for the first time.  Tenor Tylor Lamani plays Alfredo as genuinely sincere and love-struck. 

Violetta, though, does not reveal the secret of her terminal illness.    Violetta’s wistful consideration of the situation dissolves into the brindisi, Libiamo ne’ lieti calici, “lets drink from the joyful cups”.  This infamous drinking song is outstandingly sung by the leads and ensemble, and enables the five-strong musical group to really go to town.  This unusual combination of piano, clarinet, double bass and two accordions go by the soubriquet the Barefoot Band.

The inevitable happens, and a reformed Violetta gradually exhausts her wealth, selling off her possessions.  Yet, despite their poverty, the couple are happy living together in the country.  However, Pere Germont, Alfredo’s father, played by Michael Dewis, arrives unexpectedly and begs Violetta to leave his son for the family honour.  She agrees, leaving a trail of turmoil and heartbreak. 

In a brighter start to the second half, soprano Kezia Robson and mezzo Phoebe Rayner, playing Annina and Flora respectively, excel as hosts and entertainers.  Highlighted by Tenor George Seymour, these performers build the right amount of tension for Violetta to re-enter the party scene and her former life with the aggressive Baron.    

Clutching her diary, we came to Violetta’s final tragic scene of her deathbed.  Embraced by Germont who welcomes her finally as his daughter, and held by the returning Alfredo, she leaves for the spiritual world in a sad and emotional climax.     

Jointly and studiously directed by Alfie Chesney and Michael Spenceley, Barefoot Opera brings fresh insight to this ambitious opera. 

This is a youthful take on a favourite Verdi’s opera.  Its open approach has ballroom dances that are beautifully intimate and border on the bisexual.    Mood appropriate lighting is designed by Emma Gasson.  Costumes are vivid with vibrant colours for the women, accessorised with a macabre black, a contrast giving a hue of splendour.   Cleverly designed by Natasha Stolle, they are an interesting take on the early nineteenth century era.   

Produced by Barefoot Opera’s Anthony Flaum, La Traviata is valuable and fresh addition to the versatile and varied Grimeborn Opera Festival, and a real joy to experience.

Heather Moulson, September 2024

Photography by FGO