La Traviata at dell'Arte Opera Ensemble

Taminophile has returned from his illness-induced hiatus (much better, thank you, but I still get worn out very easily) to witness live opera and report about it again. I hope this fills your heart with joy. It does mine. Who better as my first victim feature out of the gate than dear dell'Arte Opera Ensemble? I've often written of my great passion for opera production at this level--young professionals just breaking into the opera world--and I've written about dell'Arte's great work in training and producing opera that never fails to engage, even on a shoe-string budget. dell'Arte usually has a theme in programming a season, and this season it is "Violetta and Her Sisters", a look at the demimonde of 19th-century Paris. The first offering was La Traviata.

Jeremy Brauner as Alfredo and
Margaret Newcomb as Violetta
Photo: Mark Brown for dell'Arte Opera Ensemble

I was delighted to see a performance of this grand work on Sunday. As it was the second performance, I saw Cast B. It hurts me that expediency often demands such labels. I can assure you, this cast could not possibly be the poor relation to any Cast A. I heard good things from every singer, and was impressed by the commitment of the entire cast to the story.

If I see and hear a performance of La Traviata and I'm not gushing about the Violetta, I don't call it a successful production. Consider this production very successful, then, because I was crazy about the Violetta of Margaret Newcomb. Miss Newcomb is beautiful in face and figure, and has a very strong stage presence. Most importantly, she can sing this fiendishly difficult role and make it seem like it's easy. Her high notes seemed free, her coloratura unforced, her middle voice rich and beautiful. I hope I'll hear a lot from this singer in coming seasons.

Paul Khoury and Margaret Newcomb
Photo: Mark Brown for dell'Arte Opera Ensemble

Jeremy Brauner is transitioning from baritone to tenor, and Alfredo in this production is his first tenor engagement. I think that's a good thing, for the role seems to fit his voice, and he certainly inhabited the role of Alfredo well. He even took the high C at the end of the cabaletta "O mio rimorso" (definitely not among Verdi's best cabalettas, in my humble opinion). I look forward to seeing and hearing more good things from him. Like Mr. Brauner, Paul Khoury as the elder Germont seemed to require a bit of time onstage to warm up vocally and dramatically. He never did seem fully warmed up, however, which proved a distraction.

Smaller roles were populated by eager and able younger dell'Arte artists, many of whom I'd love to hear again in the future, especially Nick Webb (Dr. Grenvil), Magda Gartner (Flora), and Natasha Nelson (Annina).

The technical and creative team deserve kudos for the beautiful production--especially Stage Director Kyle Pfortmillr, Scenic Designer James Fluhr, and Lighting Designer Mary Ellen Stebbins. Many a truly striking visual image was struck with a very simple set and lighting that seemed not terribly elaborate but truly effective. One of my favorite visual touches was a vase on a small table that remained on stage through every scene. It began the show with several camellias, but Violetta drew one camellia for each scene as a token of her love, leaving the vase (and Violetta?) empty at the end.

John Spencer led a small orchestra, and they usually played very well. One suspected more rehearsal might have done a lot of good.

There are more performances next weekend, and I highly recommend you see one if you can! dell'Arte also presents Massanet's Manon as part of its summer festival, as well as several concerts.