Dallas Opera opens season with an impassioned and colorful “Traviata”
The Dallas Opera opened its 67th season with a scintillating staging of Verdi’s classic tragedy La Traviata Friday night at the Winspear Opera House.
It was an evening of multiple company debuts including both lead roles, director, conductor, and production team.
The demanding role of Violetta was sung by soprano Yaritza Véliz, who was focused and buoyant throughout. In “Sempre libera” Véliz sang robustly in her arching lines. Her Act 3 “Addio, del passato,” was creamy and majestic, complimented by lovely, plaintive oboe interjections.
The smooth, bright tenor of Javier Camarena as Alfredo first shone in the celebrated opening “Brindisi.” His voice was clear throughout rapid passages. In his Act 2 aria “De’ miei bollenti spiriti,” Camarena’s sonority fully bloomed.
Camarena was lithe and passionate in “Di quell’amor ch’è palpito,”, followed by Véliz’s fluid ornamented responses, although here she overpowered Camarena in their duet. The desperate energy of the final duet “Parigi, o cara,” during which Véliz and Camarena were best matched, shifted vocally from triumphant to pathetic.
Alfredo’s father, Germont, was sung by the deep-voiced baritone Alfredo Daza. As he persuades Violetta to abandon his son, Véliz’s responses were radiant, accented by a warm clarinet solo. Here the lighting subtly evoked the passing sun to illustrate their anguished hours-long exchange.
Daza’s strongest singing came while later consoling Alfredo for Violetta’s departure. Jocelyn Hansen brought her light, pretty soprano to the role of Annina, Violetta’s maid. Erik Earl Larson as Baron Douphol was firm and vibrant.
The gambling party, replete with Spanish matadors and picadors, featured refined group singing and movements, along with a refreshing infusion of reds in the drapery, furniture, waving handkerchiefs, and some costume elements. The scene was also enriched by dancers Emily Cardea and Nicolas Sipes.
Christopher Oram’s understated two-dimensional silver and grey sets effectively absorbed Marcus Doshi’s versatile lighting designs, while leaving sonic and visual space for the singing and acting.
Under the baton of Iván López Reynoso, the orchestra balanced superbly with the singers, never overwhelming them. While Verdi’s orchestral writing certainly helps, the instruments were sensitively attuned to the action and singing.
The opera’s prelude featured delicate shimmering strings accompanying the rotating set, which disclosed and foreshadowed the story’s other settings.
Polished singing from the entire cast and dynamic staging under director Louisa Miller created a spectacle worthy of this masterpiece, and an inspired season-opener.
La Traviata runs through October 27. dallasopera.org
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