Customer Reviews

Verdi - La Traviata

5 star:		(52)
4 star:		(5)
3 star:		(6)
2 star:		(5)
1 star:		(3)

 

 

I'd read about the stir that this production caused at the 2005 Salzberg Music Festival and I was anxious to see it for myself on DVD. La Traviata has always been one of my favorite operas and while I won't say that any one version is definitive for me, this one is among my favorites.

Even if your not a fan of Anna Netrebko, I'd say watch it. I'm not entirely unbiased because I do like Netrebko. I think she's a gifted vocalist and I think when she plays this particular role she really owns it. Anna Netrebko's strengths are her acting ability, her lusterous dark tones, and her ability to make her notes resonant and powerful. She's gorgeous obviously, so it's not too much of a stretch to imagine men falling over themselves for her. And she and Rolando Villazon have a wonderful chemisry. His tenor blends beautifully with her soprano. Each one seems to feed off of the other's performance.

But to me the best part was actually the design. It opens on the party scene but the stage is naked except for a sofa the color of Violetta's dress. There's a giant clock in the corner that reminds Violetta of her mortality even at her most festive moments (and if that weren't enough Death himself is always hanging around-though at the end of the first act Violetta gulps down some champagne and then throws her glass at him!) Violetta and Alfredo's love nest also has spare scenery except tha furnature is draped in a floral cloth that matches their robes. When Violetta promises Germont that she'll sacrifice her love for Alfredo she pulls the cloths from the furniture as she sings. The furniture is left a sterile white. Then she changes back to her dress from the first act amidst these blank surroundings. Combined with the music the effect is haunting.

I think the test of a performance is if it makes me feel. The greatest singing in the world is meaningless if it doesn't produce and kind of emotion in the listener. In this production all of the elements really came together and made me cry. I don't know how much of that was Anna Netrebko's "star" power because I felt it in scenes that she wasn't even in. I think it was just all of the elements of a production working and coming together in the right way.

Recorded live at the Salzburg Festival in 2005 this 2-DVD Premium Edition of Verdi's "La Traviata", featuring Carlo Rizzi, directing the Wiener Philharmoniker, is a treasure in every way a great opera and great production (staged by Willy Decker and Directed by Brian Large) can be. Filmed in widescreen and recorded for digital sound, every visual and audio advantage that could be given to the cast was offered, including an interesting use of a single set (picture a cinemascope screen and walls lit in soft white or blue) with an occasional tapestry covered couch or two to contrast color against the black and white unisex suits worn by the chorus, and red dresses and robe of Ms. Netrebko. It's not necessary to dwell on the voices of the stars, suffice so say that the performances were lively and vibrant, filled with easy passion and an obvious affection and chemistry that clearly exists between Villazón and Netrebko. This is a sensuous, minimalist production of "Traviata" that obviously exploits the sex appeal of Ms. Netrebko and exuberant vitality of Mr. Villazón who does justice to those scenes that require he cavort around in little more than a pair of shorts. For this Premium Edition, the full opera is contained on a single disk; the second disc is reserved for some extras, one of which stands on its own for its sheer enjoyment: "The Making of . . . video." This alone is worth the cost of the set because it captured the stars and supporting cast in rehearsal, joking, interacting - and in one particularly funny scene, having Ms. Netrebko lecture Villazon that he uses his hands too much when he sings as she stands behind him pressing his hands behind his back, and using her own arms, under his, to gesture the way she thinks he looks. This was a laugh out loud moment because her feminine gestures are so clearly at odds with his male persona. To warm up to this production you might even want to view the "making of" first to understand what it is you will see and why it is staged as it is. This 2-DVD set is a clear "must own" because it gives us an updated and far sexier "La Traviata" than we are accustomed to seeing, and because the music, both vocally and orchestral, comes across so beautifully. A revjeiw from OperaOnline.us.

(by a Japanese girl, 15 y.o.)
This DVD was my first opera DVD and the reason I chose this was I became a fan of Anna whom I found on YouTube lately and this DVD has such good reputations here and there.

As a beginner, I expected a Gorgeous stage set and beautiful costume.
But the stage set is very simple and poor. I was disappointed.
The costume, Anna is wearing simple red dress or white slip and the men are wearing business suits! I was severely disappointed.
I admit I should ask somebody about these things before.

But I was also bewildered by its presentation.
Who is that snowy-haired gentleman always standing at the side of the stage? As long as I read all review here, people don't care or express different understandings. I am not sure what he was meant to be.
There is a man wearing Violetta's red dress at act 3. What does that mean? I don't understand it either. For me, it was only dirty.

At the scene Alfredo was suppose to throw money to Violetta, Alfredo was putting money into Violetta's mouth! I was shocked and frozen. What was the director thinking? Somehow I suspect he did that because it was Netrebko. He wanted to show his power to this new idol singer. He didn't do this if she was Maria Callas, or could he? Man who does such rendition must be hating women somewhere deep in his psyche.

At act 3 there is a scene people wearing same mask and same costume thong into the room. It was so similar to Kate Bush's legendary video "Running up that hill"(1985). It is not fresh at all to repeat the idea existed 20 years ago. More to the point, one studies choreography must have seen her videos. I suspect he copied her idea. Even I noticed, there would be hundreds of people who noticed it either. For people who don't know what I am talking about, you can see on the net. Key word is "Kate bush Running up that hill" or watch this.
[....]
I didn't appreciate this presentation. The stage set was poor. The costume was poor. (It is not innovative. It looked they just did not have budget.) Singers are great. Orchestra is great. Then, CD could be better as I could concentrate music. I can't believe people admire this production. It is my two cents. Thank you for reading<3

For the past fifty-four years, everybody's been talking about "The Tosca" of Callas, Di Stefano and Cobbi: the August 1953 studio EMI recording under the baton of Maestro Victor De Sabata. It may finally have come to pass. Now, everybody will be talking about "The La Traviata" of Netrebko, Villazon and Hampson: the 2005 Saltzburg Decker's staging with Rizzi on the podium.
The minimalist and stark stage design, with its unlimited intellectual and emotional symbolism, creates an intentional void- we have seen enough of replicating realism of fatiguing chandeliers and old dusty Parisian gowns in other productions- but no one will ever forget the short red dress and the clock, and the intelligent directing and stellar singing and acting, which have sealded the fate of all La Traviatas to come in one's liftime.
With no curtains to rise and a bare stage, and with Violetta present from the very beginning, the drama unfolds with convincing pathos as soon as the first orchestral bar is played. Violetta's choreographic moves across the stage to meet her untimely and tragic death is the creation of a genius- Decker- and the execution of a consumate artist- Netrebko. This is the most innovative, the most emotional, and the most dramatic and live prelude or "overture" or "prologue," if you will, of all La Traviatas you'll ever see.

In Decker's brilliant and unparalleled staging, every nuance has a redeeming value that slowly depicts the cleansing and tranformation of Violetta's soul ready to meet her Maker. After a determined and enlightened Violetta confronts reality, she understands that the frolicking of the last few months with Alfredo is over, and that she lives on borrowed time. She first uncovers the clock, accepting her fate and that her time is running out. Then she pulls the huge wild- like her life- multicolored-flower-designed slipcovers away from the sofas, and the expected red color of the upholstrey has changed to white! And later, Violetta unzips her red dress of carnal passion and throws it away with distain and repulsion, revealing her white slip of purity, soon to be coverd with a black coat, like a shroud, heralding her approaching death.
The lack of distracting scenery allows the viewer to totally surrender to the music, the thrilling vocalism, and the emotions of the characters. And this format completely succeeds becouse of the superb quality of singing and acting. Anna Netrebko does not play Violetta, but she is Violetta: the kept woman available to the higher bettor, cynical and distrusting the power of pure love, for only carnal pleasure she has known.

Netrebko is a phenomenon combining voice, looks, and acting. Is she a phenomenal actress who possesess a phenomenal voice, or is she a phenomenal soparano who is a phenomenal actress? It's hard to tell; and that makes her unique. If she developd futher as a singing actress, she could be a formidable Tosca or Carmen. Netrebko's voice does not fit the standard classification of the soprano range. She crosses all levels, from lyric to spinto to coloratura, with phenomenal agility and contol, and with an unbelievable creamy darkness in the middle. From the sopranos seen on available videos, Netrebko's voice comes out as the most natural. She sings as if she speaks. The muscles of her face and neck show no distortion or annoying gimaces- even in close-up-shots- that other excellent sopranos use to project their voices. Netrebko uses her facial muscles only to show emotions, which makes her a unique singing actress. To compare Netrebko to Callas- as some do- is a disservice to both singers. Netrebko is Netrebko, and Callas is Callas. Period. Both are unique artists in their own right with no peers.

In all fairness, Villazon with such a mature, rounded and expressive voice, and a clarion that is rather unusual for a young tenor, Hampson, a lyric baritone of renown, with his smooth, honey-like and powerful but controlled singing, chorus and orchestra playing, are as good as Netrebko but, somehow, her charisma steals the show and she becomes the epicenter of the production. Artistically, musically, emotionally, and theatrically speaking, any production of La Traviata will rise or fall on the strength of its protagonist- Violetta. Netrebko, thanks to Decker's vision, focus, inspiration, and imagination, has become the paradigm and standard of all the Violettas to come: sluttish, witty, manipulative, opportunist, playful, sensual, seductive, and glamorizing and using sex for prosperity; but honest and ready for love. And when, for the first time, she experiences true love that has eluded her all her life, her spiriuality is awakened, and she is transformed, miraculously, into a powerful woman ready for sacrifice, repentance and salvation. Violetta is a complex and multifaceted woman, and Netrebko, with the help of Decker's denuded stage, touches Violetta's inner soul with depth, emotion, and thruthfulness, as it has never been sung, acted or seen before.

Some criticism of this DVD seems to be off base, and maybe it comes out of ignorance or emotional bareness. "It's vulgar!" What do you expect? Violetta is a glorified and high-prized prostitute! Spreading her uncovered thighs and legs, with exuberance and enthousiasm, on the red sofa raised by men, tells the whole story with honesty. "Nertebko in not Gheorghiu. Solti's La Traviata with Gheorghiu is the best Violetta on DVD." Of course, Netrebko is not Gheorghiu, and we should be thankful for that. Netrebko sings lying on her back, on her side, on her stomach, on all four, and on her knees! And while putting on and zipping up her allegoric red dress of caranal passion, or while unzipping it and taking it off! Netrebko is possessed by the character, as if there is no tomorrow, and constantly moves and acts with utmost discipline and precision. What more can you ask?. Netrebko is not a better Violetta but a different Violetta, and that makes her unique, and not like all the others. Netrebko's Violetta is totally her own, vocally and emotionally, and it can neither be taught nor acquired.
Villazon is a perfect match, vocally and dramatically. Why he has to be compare to "the young Domingo," no matter how flattering? Villazon's voice is more lyrical with more "Italianate" timbre and texture.
Hampson, a perfect and equal partner of Netrebko and Vollazon, "is stilted and cold." How an upper-crust Parisian novelist is supossed to behave and act when he meets for the first time the living-in hooker lover of his already socially compromised illegitimate mulato looking son?

Warning: this DVD is addictive. The more you watch it, the more you love it. This DVD for an opera fanatic, with a sensitve heart and a critical mind, is a masterpiece destined for eternity. And of course, it sould never be fotgotten that the master behind all this is the genius of Verdi. "Verismo" per se was not in Verdi's bag but, in La Traviata, he wrote the most human and the most true opera music of all times that has reached immortality.

Constantine A. Papas
El Paso, Texas

This Traviata will not be to everyones taste due to its minimalist staging and modern design. However, for those willing to try something new, this is a rare treat. Villazon and Netrebko have a real chemistry about them and this production oozes sensuality. The voices are sublime and the acting superb. The minimalist staging works wonderfully well and really adds to this production, as nothing is there to detract from the magnificent singing and acting - except for the symbolic messages in the staging. There is a relaxed abandoned feel to the performance which is very different and very appealing. Both Villazon and Netrebko are extremely relaxed in their acting, not the stiff and stuffy stars of old - this is modern and well worth adding to your collection. Netrebko seems to have the talent to sing in all ranges lyric, coloratura and spinto - she is seriously impressive, my only fear for her, is that her popularity will ruin her voice if she does not take care of it. Give this DVD a chance - you won't be at all sorry, unless you are really set in your opera loving ways.

As I get older I become more conservative about operas and plays being updated and messed with. But this is a great and thoughtful production where the director's concept actually makes the total effect of the opera much more powerful.

This is opera as great theatre and yet the music is not compromised.

Enough has been written about the two stars and I agree with the accolades. But for those who know this opera well, watch and listen to the way Thomas Hampson sings the cantabile lines: he is not a singer who is seduced by a melody. He is a thoughtful artist who is after creating a total character withing the structure of the music. His singing of the cantabile lines bring out the provincial aspects of Germont's character. I found this interpretation incredibly orginal and brave. Kudos to Thomas Hampson. A true artist.

Buy this Traviata. This is what opera can be when it is done right.

Who cares if you like or don't like 19th C opera in modern dress! If you don't like this performance, you just don't like singing! All three prinicipals are superb--dare I say unmatched! It helps, of course, if you've seen a production of La Traviata with opulent sets and costumes; most opera fans have, and can supply those images from memory. This is a streamlined production all about music. Villazon is "singing like an angel" these days. If that quotation reminds you of someone long dead, it's no accident. His performance in Donizetti's Elixir deserved an Oscar for acting and an "Enrico" for beautiful singing. He almost makes me reconsider the idea of reincarnation. Netrebko and Hampson are equally special. All three sing their roles in ensemble with the orchestra in ways that shape their arias symphonically. This performance is so good that it makes me re-evaluate Joe Green as a composer of music rather than merely of operas.

Unlike other reviewers, I was put off by the minimalist, sadistic, Euro-trash production. That said, the singing and acting on the part of all three principals is fantastic! So, buy for the music, the acting, and the stars, but be prepared for minimalist sets and unmotivated directorial bits along the way.

Anna Netrebko delivers a sexy, sizzling performance as the courtesan, Violetta. Not only can this acclaimed Russian Diva sing but we now learn she can act. She is both beguiling and captivating as she succumbs to the ardent overtures of her lover, Alfredo charecterized skillfully and convincingly by the Mexican born tenor, Rolando Villazon.

One can audibly hear the smacking of lips as the two lovers come together in passionate embrace. There is no holding back in this daring production as we see Netrebko lasciviously entice Villazon by lying on her back upon a sumptuous sofa, one leg bent and teasingly drawing back her brilliant red skirt to expose a shapely upper thigh.

Certainly it is one of the great contemporary productions noted for its stark minimalist set as staged by Willy Decker. There is symbolism aplenty however as the hands of the giant clock turn feverishly and unrelentingly to illustrate that Violetta's inevitable death is imminent.

Not only are Netrebko and Villazon perfectly cast but the admired American baritone, Thomas Hampson delivers a superb performance as Alfredo's anguished father, Giorgio.

Decker's production is unflinching and uncompromising as the human pathos unwinds with true love being found and lost in a heart rending climax.

To top it all Carlo Rizzi conducts the Vienna Philharmonic Orchestra so masterfully prompting riotous acclaim from the audience not seen since his great pre-decessor, Herbert von Karajan.

For opera buffs this is a "must have" and for opera novices or initiates do yourself a favor, take some time out, sit down and be entranced as the essence of this human tragedy is revealed.

If this courtesan, "La Traviata" does not seduce you, nothing will!!

I am delighted to own this DVD as the production offers a new take on Verdi's masterpiece. Fond memories of productions featuring Gheorghiu and Gruberova are not eclipsed with this new version, although I am tempted to say that I enjoyed this version more than the others. The principals sing and act excellently and I can see why this production caused such excitement when it was premiered at the 2005 Salzburg Festival.