Czech Republic Verdi, La traviata: Soloists, Ballet, Chorus and Orchestra of the National Moravian-Silesian Theatre / Jiří Habart (conductor). Antonin Dvořák Theatre, Ostrava, 19.3.2025. (GT)
Verdi’s La traviata was first seen here in Ostrava in 1922 in a staging by Frantisek Kubina, and the second production in 1931 starred Ada Sari as Violetta. There were more successful productions in 1958 and 1964, and between 1977 and 1990, Ostrava witnessed as many as 80 performances of Verdi’s popular stage work directed by Miloslav Nekvasil. The soloists included many international singers. In Daniel Wiesner’s 1992 production, the conducting was shared between Jan Šrubař and Oliver von Dohnányi. In 2004, Eva Dřízgová-Jirušová and Luciano Mastro starred in the two leading roles in a modern costumed production. This latest production premiered on 3 May 2018.
A unique feature of the show was the figure of Alexander Dumas fils exchanging inviting gestures with a lady on the opposite side of the theatre- throughout the show – the younger Dumas, was a continual presence in the most important scenes.
The opening reveals a circular scarlet bed upon which Violetta and her lover Barone Douphol are asleep- it is clear she is tired of him, refusing his approaches. The Violetta of Jana Sibera was not always in her role, her voice seemed harsh and shrill at times in the first act, especially in ‘Libiamo ne’ lieti calici’, although she seemed to meld into the part as the evening went on; her ‘E strano’, and ‘Sempre libera’ were intense, with little tonal colour and betrayed the first signs of her illness. However, her Act III aria, ‘Addio, del passato bei sogni ridenti’ was intensely moving, and her characterisation was sensitive and poignant, especially in her final aria ‘Grand Dio! … morir si giovane’. The Alfredo of Martin Šrejma was excellent in a moving and intensely expressive portrayal that dominated the action; his fluent and attractive singing was very touching in ‘Un di, felice, eterea’, and his Act II aria, ‘Il giovanile ardore’ was outstanding. Michaela Zajmi’s Flora revealed a gorgeous mezzo-soprano embellished by great acting and presence. Aleš Jenis as Giorgio Germont was very impressive in voice and characterisation, especially in imploring Alfredo in his Act II ‘Di Provenza il mar’. The Annina of Eva Dřízgová-Jirušová was a deeply tender portrayal of Violetta’s devoted servant and friend.
The secondary roles were all first-rate, especially that of Václav Morys as Gastone and in every role that the tenor performs here he gives a marvellous theatrical contribution. A sure sign of this company’s wealth of singing talent was that every singer was at their very best in this performance; many scenes revealing outstanding theatrical gifts and vocal richness. Most memorable was the chorus in the Act II scene at Flora’s home – ‘Noi siamo zingarelle’.
This 2018 production by Bohuslava Kráčmarová is conventional with no attempt to ‘modernise’, or to introduce contemporary innovations. Yet the addition of the mute figure of Alexander Duma fils – ever-present at key moments – was a unique feature and an attractive novelty to the narrative. The costumes by Alena Schäferová were of the mid-nineteenth century, with the whites, greys and greens for the ladies, prominent against the dark blues and black attire of the male characters. In the final scene, the dancers wear bizarre carnival masks. It contrasted with the all-white of the younger Alexander Dumas. Olga Borisová-Pračiková’s choreography was dazzling, particularly in the Spanish ballet and the final scenes. Michal Syrový’s sets were of a stately home with high windows arranged in a semi-circle looking out onto a garden. The nominal stage props comprised a circular scarlet bed, a gambling table, couches and a dressing table. At the end of Act III, the circular bed is transformed into an overhead light shining out at the audience.
The chorus was magnificent throughout, with the dancers adding to the dramatic spectacle and colourful staging. The overall talents of this fine opera and ballet company are of international standing. The orchestra was terrific under the direction of Jiří Habart evincing all the vibrant colours of Verdi’s score. Despite having seen many different productions, this latest La traviata from Ostrava’s Bohuslava Kráčmarová allows Verdi’s popular stage work to be seen and heard without controversial novelty.
Gregor Tassie
Production:
Stage director – Bohuslava Kráčmarová
Set designer – Michal Syrový
Costume designer – Alena Schäferová
Video projection – Otakar Mlčoch
Choreography – Olga Borisová-Pračiková
Assistant choreography – Rodion Zelenkov
Chorus master – Adam Sedlický
Dramaturg – Eva Františáková
Cast:
Violetta Valéry- Jana Sibera
Flora Bervoix – Michaela Zajmi
Annina – Eva Dřízgová-Jirušová
Alfredo Germont – Martin Šrejma
Giorgio Germont – Aleš Jenis
Gastone, Viscount de Letorieres – Václav Morys
Barone Douphol- Pavel Divín
Marchese d’Aubigny- Petr Urbánek
Dottore Grenvil- Martin Gurbaľ
Giuseppe – Aleš Burda
Flora’s servant- Erik Ondruš
Commissioner – Tomasz Suchanek
Alexandre Dumas fils – Vít Roleček