Spain Verdi, La traviata: Soloists, Chorus and Orchestra of Teatro Real / Henrik Nánási (conductor). Teatro Real, Madrid, 24.6.2025. (JMI)
The Teatro Real’s 2024-2025 opera season is coming to an end with Giuseppe Verdi’s La traviata with various casts and this review refers to the first night which was exemplary in every aspect: scenic, vocal and musical.
The production is the well-known one (from Dutch National Opera & Ballet) by Willy Decker, which premiered in Salzburg in 2005 and featured Anna Netrebko and Rolando Villazón (when the tenor was in peak vocal form). There are few opera fans who do not associate Netrebko with the famous red dress in this production. Decker has always been an outstanding stage director and proved that here once again.
Wolfgang Gussmann’s set design consists of an empty space with a semicircular white wall. If anything characterizes the production, it is the elements that get added to the set, especially a large clock, the aforementioned red dress worn by Violetta at both parties and the sofas, one of which plays an important role in Act I. The white walls contrast with the famous red dress, floral fabrics that adorn the sofas in Act II and a black wardrobe for the chorus, all of whom have short hair and are dressed in men’s suits.
The production works well in its simplicity, thanks to Decker’s remarkable stage direction which makes great use of the soloists, chorus and extras. Another interesting – and disturbing – element of the production is the presence of Doctor Grenvil on stage before the opera even begins, in a kind of Doctor Death incarnation.
Conductor Henrik Nánási was making his debut at Teatro Real, and I found his reading quite good, very delicate and careful. He was always attentive and helpful to the singers and drew a fine sound from the Teatro Real Orchestra. I hope to see him again soon in the Teatro Real pit. The Chorus had to overcome the difficulties of this demanding production, and they succeeded.
The chief protagonist is undoubtedly Violetta, and we benefitted from an exceptional performer, soprano Nadine Sierra, who has become the great Violetta of today and, I suspect, for a long time to come. This year saw her triumph in spectacular fashion at the Liceu in Barcelona, where she was crowned as the true ‘Queen of Liceu’, and her performance here was perfectly in line with that one a few months ago in Barcelona (review here). The final act was the highlight, and its exceptional quality leaves no room for doubt or discussion. Simply magnificent in every sense, she finally dies like a true diva. I have to say that, just as at the Liceu, the audience seemed to admire her throughout and, of course, at the very end. For reasons beyond me, there was no enthusiasm when the opera opened – curious and surprising.
Alfredo was tenor Xabier Anduaga, and he was totally convincing. His voice is perfectly suited to the demands of the role, which is not one for a light voice and he sang with vigor and dedication. His attractive voice makes him one of today’s finest tenors.
The third star of the evening was baritone Luca Salsi in the role of Giorgio Germont. He has a true Verdi baritone, so scarce these days, and he was excellent, singing with gusto in his great scene with Violetta, and also in the subsequent one with his son, Alfredo.
In the supporting roles, I would highlight the performance of bass Giacomo Prestia as Doctor Grenvil, who did admirably.
José M. Irurzun
Featured Image: Xabier Anduaga (Alfredo) and Nadine Sierra (Violetta) in Teatro Real’s La traviata © J. del Real
Production:
Direction – Willy Decker
Sets – Wolfgang Gussmann
Costumes – Susana Mendoza
Lighting – Hans Toeldete
Choreography – Athol John Farmer
Chorus director – José Luis Basso
Cast:
Violetta – Nadine Sierra
Alfredo – Xabier Anduaga
Germont– Luca Salsi
Annina – Gemma Coma-Alabert
Flora– Karina Demurova
Gastone– Albert Casals
Douphol – Tomeu Bibiloni
Obigny – David Lagares
Doctor Grenvil – Giacomo Prestia
Giuseppe – Joan Laínez
Anduaga reminds me so much of the young Carreras – he will go far!