Verdi: La Traviata Blu-ray Movie

Rating summary

Movie		4.5
Video		4.0
Audio		5.0
Extras		3.0
Overall		4.5

Verdi: La Traviata Blu-ray Movie Review

A dream cast in a dreamy production.

Reviewed by Jeffrey Kauffman May 24, 2011

The two titans of Italian opera, Puccini and Verdi, rarely did anything small. Big emotions, big melodies, big everything. And so sometimes the very mammoth nature of their operas tends to obscure the more delicate nuances, despite game efforts by directors and cast. Experience seems to be one of the most helpful attributes in being able to navigate the gargantuan aspects of these pieces while losing none of the finesse required. Thankfully this June 2009 Royal Opera House production of one of Giuseppe Verdi’s crowning glories, La Traviata, is abounding in experience both on stage and behind the scenes. Director Richard Eyre’s mounting of the opera first debuted in November 1994 and has been resurrected several times in the intervening years, meaning the Royal Opera House as well as its production crew probably know the ins and outs of the actual physical side of things as well as could reasonably be expected. Better yet, Eyre himself returned to help guide this outing, helping to keep his original vision intact. And while conductor Antonio Pappano’s relative inexperience with this score might initially give some people pause, his long history conducting acclaimed performances and recordings of other Verdi works made him at least aware of the challenges which were in store for him. Most impressively, though, we have something of a “dream team” in terms of casting in this production, including the luminous Renée Fleming as Violetta, a role she has played and recorded to incredible acclaim previously (including on a UK Decca Blu-ray), and two stout voiced males in the supporting roles, Joseph Calleja as Alfredo and Thomas Hampson as Giorgio. We’ve had other Traviatas on Blu-ray, but there’s little doubt that this production immediately and inarguably jumps to the head of the pack, both in its sumptuous productions values as well as its acting and singing.

Acting in operas has always been a bit of a bugaboo. Too often great singers are simply too indicative in their performances, as if (somewhat ironically) they were performing in a silent film where even the smallest moment needed to be overplayed. A piece as inherently heartbreaking as La Traviata needs competent (and perhaps more than merely competent) actors to bring its devastating emotion alive. Too often productions sacrifice La Traviata’s innate emotionalism for glitz and glamour, forsaking what really sets the opera apart from others of its era for mere production values. What is so bracing about Eyre’s approach is that he is able to do both—he give the viewer an absolutely glorious physical production which ably recreates a somewhat decadent Paris, while also providing us the depth and heartfelt passion which needs to be at the core of this piece.

The Royal Opera House has been getting more and more outré in the past few years, trying experimental pieces that may be laudatory in terms of trying to push the envelope, but which have repeatedly failed to connect with audiences. You might fault the management for sticking with a proven crowd pleaser in this production of La Traviata, but it actually seems moot and downright curmudgeonly when one is given such a stellar reading of one of the prime masterpieces of the genre. Modernists may decry the unapologetic traditionalism of this Traviata, but Eyre’s unflinching eye for era and attitude is what makes this production so effortlessly thrilling.

Some great singers start to show the “cracks” in their instrument as they arrive at middle age (and beyond), but against all odds, Fleming only seems to get better with age, like a fine wine. Her midrange is so incredibly expressive now it can melt even the coldest heart, and her transitions from chest to head voice are handled impeccably well. But the singing is almost a given when dealing with an artist of Fleming’s stature. What is so amazing about her Violetta is her acting. This is one of the most well rounded Violettas in recent memory, with a completely devastating finale that should shake even the most jaded viewer to their cores.

Calleja is a beautifully heroic sounding Alfredo, singing with a depth and assuredness that belies his relative youth. His soaring tenor is clear and beautifully colored. Hampson is a marvel as Giorgio, deeply burnished and once again, like Fleming, offering a real performance that sees shadings of character and subtle changes in attitude and motivation that are usually not part of this role. The supporting cast and ensemble are also excellent, with nary a false note (no pun intended).

Just as formidable as the onstage talent is the conducting of Antonio Pappano. Verdi was never content to provide “mere” accompaniment in his orchestral underpinnings of his vocal music, and La Traviata requires a conductor who can extract appropriate color and nuance to make the conversational interplay between the instrumental and vocal elements of the opera come alive. Pappano’s reading of the score is phenomenally robust while at the same time tender and very carefully articulated. The Royal Opera House Orchestra seems to be relieved in a way to be returning to the glorious tonal world of Verdi after several more modern, dissonant scores in seasons past. Their playing is lustrous and palpably sincere.

For those of us who frequently look askance at modernist revisions of classic pieces, it’s a joy to be able to see something this unapologetically traditional, while at the same time perhaps even exulting that that very traditionalism is what makes the production so amazing. It may be a case of “I told you so,” but not every classic piece has to be reinvented at the Arctic Circle with sharkskin suits to somehow make it relevant to modern audiences. All that’s needed is a clear directorial vision, brilliant performers and a conductor who is in tune both figuratively and literally with the composer’s intents. Luckily, all of those elements, and more, are firmly on display in this absolutely ravishing La Traviata.

Verdi: La Traviata Blu-ray Movie, Video Quality 

La Traviata's Blu-ray presentation is encoded via AVC in 1080i and 1.78:1. This production goes through a number of color palettes as it makes its way through the acts, and they are all represented here beautifully. The opening, which consists of huge projections of childhood photos of Violetta is in a dark and rich blue hue, which then gives way to a sort of amber-orange as we make our way into Violetta's party. Later as Violetta must confront Giorgio, we're in a room of cool blues and grays. Even later the club scene is awash in deeply burnished oranges are reds. Throughout all of these many changes, the Blu-ray displays excellent range and saturation. Black levels are really excellent and shadow detail is also very, very good. The play between lighter and darker hues is especially noteworthy in the final scene, as huge louvres in the set design cast a grilled pattern of sorts across the proceedings. The image can be a bit soft at times, especially in the midrange shots which were probably taken from a second balcony, but otherwise this is a solid presentation.

Verdi: La Traviata Blu-ray Movie, Audio Quality 

La Traviata features two lossless audio options, a DTS-HD Master Audio 5.1 mix and an LPCM 2.0 stereo fold down. Both of these options are gorgeously, featuring crystal clear fidelity and a warm overall sound. Unfortunately things get off to just the slightest bit of a rocky start, as a "thump, thump" sound can be heard repeatedly (perhaps from the audience?) as the quiet chorale prelude begins. There is very slight occasional audience sound to be heard from time to time, something rather unusual in these Royal Opera House productions. In terms of the music and the soundtracks themselves, things are absolutely spot on. While the soundfield is fairly narrow, surround channels are filled with a pleasant and natural sounding hall ambience as well as the orchestra, which sounds luscious and well balanced. Balance between the singers and the orchestra is also artfully handled, and the DTS track easily handles all frequency ranges from Fleming's highest notes to the redolent bass of Hampson.

Verdi: La Traviata Blu-ray Movie, Special Features and Extras 

• Antonio Poppano Interviews Renée Fleming (1080i; 21:21) is a really interesting and thoughtful featurette which has the two discussing the demands of the role of Violetta, and how many people have stated it actually takes three completely different sopranos to fully realize the role: a first act coloratura (with an insanely difficult first aria), a dramatic approach for the second act, and then a lyrical and fragile manner in the final act. Fleming and Poppano are both down to earth and wonderful to listen to in this really excellent supplement.
• Cast Gallery (1080i; 00:47)

Verdi: La Traviata Blu-ray Movie, Overall Score and Recommendation 

The only other American Blu-ray release of La Traviata was a sumptuous and filmic production, but it suffered from less than adequate acting and especially singing. This outing is decidedly more theatrical, but it is just as glorious and the performances and singing are simply stellar. Fleming, despite her protestations that she's "only" done this role for five or so years, is at the height of her interpretative and technical powers in the role of Violetta, and this performance will be a new benchmark by which others are measured. The entire production glistens with nuance and intensity. Highly recommended.