Spain Verdi, La traviata: Soloists and Extras, Chorus and Orchestra of the Gran Teatre del Liceu / Giacomo Sagripanti (conductor). Liceu, Barcelona, 20 & 21.1.2025. (JMI)
Production:
Director– Sir David McVicar
Revival Director – Leo Castaldi
Sets & Costumes – Tanya McCallin
Lighting – Jennifer Tipton
Choreography – Andrew George
Chorus director – Pablo Assante
Casts:
Violetta Valéry – Nadine Sierra / Ruth Iniesta
Alfredo Germont – Javier Camarena / Xabier Anduaga
Giorgio Germont – Artur Ruciński /Mattia Olivieri
Flora Bervoix – Gemma Coma-Alabert
Annina – Patricia Calvache
Gastone de Letorières – Albert Casals
Barone Douphol – Josep-Ramon Olivé
Marchese d’Obigny – Pau Armengol
Dottore Grenvil – Gerard Farreras
I attended a performance of Verdi’s La traviata in Barcelona, which would not ordinarily go down in history. But this one clearly will, thanks to the presence on stage of a sensational Violetta Valéry who deserves all my admiration. The staging is by Sir David McVicar, and it is the same one done at the Liceu in 2014 and 2020 and is a coproduction with Scottish Opera, Teatro Real and Welsh National Opera.
McVicar is surely one of the most prestigious stage directors of current times, but this production is totally traditional. There is little to point out that is modern, although it must be acknowledged that good taste is always present. The stage design and the attractive costumes are by Tanya McCallin, while the lighting is the work of Jennifer Tipton. The choreography by Andrew George is rather untidy.
Giacomo Sagripanti has become one of the most sought-after conductors in recent years. I found his interpretation convincing, particularly in the preludes, and all was conducted with exquisite taste. He took great care with the coordination between pit and stage. The Orchestra of the Gran Teatro del Liceu has improved with respect to what I remember from last season, and the chorus also did well.
The protagonist – and the real triumph here – was American soprano Nadine Sierra, about whom I can only offer laudatory and superlative comments. There cannot be today, nor will there be for a long time, a Violetta like hers – simply stated, she was unique. If one judges her on concrete aspects, her voice is beautiful and her technique is perfect, as is her vocal range. As an actress, she is Oscar-worthy. At last, Anna Netrebko has someone who may one day surpass the great Russian soprano.
In the second cast, Violetta was sung by Ruth Iniesta, who offered a convincing interpretation in every sense, especially in the last two acts, while I found her less comfortable in Act I. One cannot compare her with Nadine Sierra, but Iniesta was a convincing Violetta.
The rest of the cast is somewhat in the shadows, no matter how well they did, since no one can come close to what Sierra offered. Tenor Javier Camarena was an admirable Alfredo, Violetta’s lover, his voice is attractive and he sang with gusto. The second Alfredo was Xabier Anduaga, who has become one the most sought-after tenors today. His performance seemed better to me than Camarena’s: Anduago’s voice is very beautiful and better emitted and was homogeneous throughout the entire range.
Giorgio Germont (Alfredo’s father) was played in the first cast by baritone Artur Ruciński, who did especially well in the middle range. The volume of his voice is not too big, and he was somewhat tight on the high notes. The second Germont was Mattia Olivieri, who also did well and was, in fact, better than Ruciński: he has excellent uniformity in the different registers.
The secondary characters were done well. Gemma Coma-Alabert was an adequate Flora (Violetta’s friend), and Patricia Calvache was correct as Annina (Violetta’s maid).
José M. Irurzun