News details 619

"La Traviata" at Salone Margherita Theatre in Rome

[ From category THE Articles ]
[ Translator Adrian Trasca ]

[ Article date: 2013-04-30 ]
[ From city Roma ]
[ Country Italia ]

After 160 years... and a few weeks after the first representation of "La Traviata" of Giuseppe Verdi (6th of March, 1853, Teatro "La Fenice", Venezia, Italia), I had the chance to see the opera on 17th of April in Italia, the homeland of opera, at Salone Margherita Theatre in Rome. I said "the chance" because of all the daily factors owho are trying to interpose between us andwhat is beautiful: the fast rithm of life, the economic crisis and other daily matters. In this hurry world, Rome, the eternal city, show its best and offers you at every step the posibility to meet the art. You can listen opera not only in specialised theaters, but in open spaces or in churches.

The show directed by Barbara Painvain is a clasic and it does not look for modern effects with any cost. The interpreters have not complicated costumes: the women wear ball dresses, the man wear tails or regular costumes, like the doctor and the outside porter. The decors are strictly necessary for creating the atmosphere and they had nothing exaggerated. The stage, the space for orchestra creates toghether an welcoming, elegant and distinguished place, propitious for an opera performance. A select bar in the lateral, the posibility to enjoy a glass of fine wine during the show, the comfortable armchairs, evertything creates the impresion that you participate to the parisian ball.

Violetta, interpreted by Carmela Maffongelli, impressed from the beginning by her shining youth, by her freshness features and by her outfit. Wearing a white dress, with the hair tight by a flower, she succeded to perform with purity and talent the not easy areas of the character. Her face and her eyes transmited a large range of states: mild irony, malice, pleasure, fear in front of a powerful new feeling and, at the end, the fear that nothing can heal her and then ecstasy in front of heavenly visions before death. The black dress in the second act was elegant, but also grieving in her heart for the renounced love and the flower and red gloves foreshadowed the death in the final act.

Giuliano di Filippo realised a passional Alfredo, dominated by his feelings, sometimes impulsive. The wellknown area "Libiamo" got a lot of applauses and, in the other parts, he is very expressive whe he shows his joy in the second act and the dissapoimnent and angry in the third.

A very beautifull voice and a good interpretation is realised by Giancarlo Pera in Giorgio Germond, the father of Alfredo. With Violetta, the duet "Piangi, piangi"made a lot of spectators to wipe a few tears. The baritone plays a father concerned about his son and his daughter, showing understanding for the lost woman and knowing that he has to obey to the conditions imposed by society.

Mezzo-soprano Maria Tiberi plays two parts, the role of Flora, as well as that of Annina. If servantie role manifests as a concerned person, always serious, in that of Flora she manages to embody the image of a woman with grace and talent lounge, fashion-conscious, the pleasures, who like to be courted, who thinks more or little fortune tellers predictions presented as entertainment. Her face always extremely common expression, even when not singing. She creates a character seemingly frivolous, but that hides a big heart sensitive to the suffering of others and full of sympathy for her friend Violetta.

I do not forget to mention the performers in smaller roles, all very good. Gossip is baritone Andrea Baron Duphol. Not eldest, he is full of pride, aware of its financial strength, jealous and easily irritable, full of contempt when pitching glove that cause him to a duel Alfredo. Silvio bass Riccardi is mentioned on the distribution as the doctor, but he occurs as cheerful participant in dance. Lorenzzo Scaccia, choir master, a remarkable chorus, has no problems to play as a housekeeper.

Orchestra, conducted by Maestro Melchiorre, interpreted with living, naturalness and proved to be in perfect accord with the performers on stage. I always had the impression that men and women orchestra operates with obvious pleasure and seemingly without effort.

Prolonged applause at the end of the show showed true appreciation of the public for a show. We went on a cool evening with soul warmed and comforted by what we lived.

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