Sweden Verdi, La traviata: Gothenburg Opera Soloists, Chorus and Orchestra / Aivis Greters (conductor). Gothenburg Opera main stage, 12.9.2026. (NS)
Gothenburg Opera opened its new season early by premiering their new production of La traviata (sung in the original Italian) at the Savonlinna Opera Festival in Finland this summer, and now re-open their main stage after a renovation with Verdi’s immortal classic. Perhaps inspired by the lines from Piave’s libretto ‘Though God may show His mercy / Man will never forgive her’, director Silvia Paoli casts an unforgiving light on the hypocrisy of bourgeois society. The setting is contemporary, though costume designer Nika Campisi created some wonderfully playful costumes, especially for Flora’s party in Act II.
The set is minimalist, with scene changes very smoothly accomplished without use of the curtain. The set and lighting worked well for the winter countryside scene in Act III. The lighting was particularly atmospheric for Flora’s party. In the third act the dim light in Violetta’s room heightened the sense of her frailty.
The minor characters are very much part of the rotten society that Paoli critiques. Doctor Grevil is lecherous and seems to visit Violetta in Act III more to spend time with Annina than to minister to her as a patient, but Åke Zetterström gave his character expression and humanity. Mia Karlsson was excellent as Annina, playing her as a city girl rather out of place in Violetta and Alfredo’s countryside idyll. Daniel Ralphsson was a sleazy Gastone, looking great in his Mad Hatter-inspired costume. Hannes Öberg was gripping as Baron Douphol, his baritone carrying a chilling edge when ordering Violetta not to speak with Alfredo at Flora’s party and an undertone of menace during his gambling with Alfredo. Katarina Giotas’s mezzo-soprano sounded glorious.
Orhan Yildiz was unfortunately unable to sing at this performance, so Giorgio Germont’s part was sung from the side of the stage by Jeremy Carpenter, who gave a mellow and nuanced interpretation which felt suitably torn between his urge to protect his family’s honour and his reluctant admiration for Violetta’s character. In this production Giorgio Germont brings his wife and daughter (vividly played by Fanny Wranne) with him on his visit to Violetta in the country, and they silently interact with Violetta, giving additional impact to Giorgio’s plea in ‘Pura siccome un angelo, iddio mi diè una figlia’. They also movingly try to comfort the inconsolable Alfredo after he reads Violetta’s letter.
Tobias Westman captured Alfredo’s many sides, from his awkwardness at first speaking to Violetta to his happiness in ‘De’ miei bollenti spiriti / Il giovanile ardore’. His devastation at Violetta’s leaving him and furious jealousy at Flora’s party were equally convincing. He really blossomed vocally in Act II and was particularly touching in his duets with Violetta in Acts II and III.
Ania Jeruc was always gripping as Violetta, especially in her long scene with Giorgio Germont. Both in this scene and in Act 3 Jeruc’s soprano was heartbreakingly expressive even when singing piano. She also demonstrated an impressive coloratura in ‘Sempre libera’. Her acting really brought out Violetta’s dignity and strength of character but also how deeply she is affected by her love for Alfredo, so much so that Violetta is almost a shadow of her former self at Flora’s party.
The Gothenburg Opera Chorus also excelled, particularly in Flora’s party where the singing and choreography for ‘Noi siamo zingarelle venute da lontano’ and ‘Di Madride noi siam mattadori’ were great fun and a vivid contrast from their denunciation of Alfredo’s behaviour in ‘Di donne ignobile insultatore, di qua allontanati, ne desti orror!’. Aivis Greters’s conducting was sensitive and let the music and staging flow together beautifully. This production shines a harsh light on the cause of Violetta’s tragic fate but at the same time gives full space to the beauty and humanity of Verdi’s music.
Niklas Smith
Playing until 18 October 2026. For tickets and more information see the Gothenburg Opera website (click here).
Featured Image: [l-r] Giorgio Germont (Orhan Yildiz), Germont’s daughter (Franny Wranne) and Violetta (Ania Jeruc) © Håkan Larsson
Production:
Director – Silvia Paoli
Assistant director – Tecla Gucci
Set design – Emanuele Sinisi
Costume design – Nika Campisi
Lighting designer – Fiammetta Baldiserri
Choreographer – Emanuele Rosa
Chorus masters – Bernhard Greter, Martin Nagashima Toft
Cast:
Violetta Valéry – Ania Jeruc
Flora Bervoix – Katarina Giotas
Annina – Mia Karlsson
Alfredo Germont – Tobias Westman
Giorgio Germont – Orhan Yildiz (sung by Jeremy Carpenter)
Gastone – Daniel Ralphsson
Baron Douphol – Hannes Öberg
Marquis d’Obigny – Ivan Dajic
Doctor Grenvil – Åke Zetterström
Giuseppe – Tore Sverredal
Flora’s servant – Tobias Nilsson
A messenger – Herbjörn Thordarson