Annina could have been the good-hearted Annie johnson in Imitation of Life. It took a concerted effort for the singers and orchestra to rise above this ill-conceived, bargain-basement mis-en-scène, which at least from a musical point of view, was mostly successful. Redemption, conductor Marco Armiliato tended to interpret forte as fortissimo but left plenty of space for the frequent fermate, especially by violetta. The tricky synchronization between pit and chorus in si ridesta in ciel laura and Largo al quadrupede sir della festa was tight and well-calibrated. First clarinet in addio del passato was rather strident but there was sensitive solo violin playing before teneste la promessa. The exposed ppp high strings adagio preludio was infinitesimally sharp but the cellos statement of the Amami, alfredo theme was much more lyrical. . The operas concluding crashing B flat minor chords with pounding timpani were suitably shattering.
Traviata, avec Natalie, dessay au festival d, aix -en
Even before the poignant short Preludio began, a rag-bag collection of shifty street people wandered aimlessly about the curtain-less stage greeting each other as if about to go clubbing when the free booze ran out. The sight of Dr Grenvil reading le monde was writers yet another incongruity as was Alfredos debonair hand-kissing. In such a modern mis-en-scène, a high-five would probably have been more appropriate. . In her last moments, violetta tells Grenvil that religione è sollievo ai sofferenti but green there isnt a crucifix anywhere to be seen. In terms of characterization, sivadier sees violetta as little more than a raving alcoholic and doomed cocaine addict. In fact she looked a bit like amy winehouse on a bad day or perhaps on a good one. The genuine sympathy verdi felt for this fallen woman trapped in questo popoloso deserto che appellano parigi was non-existent. Alfredo was a handsome, oversexed, goofy boy-toy also with a drinking problem. When violetta goes back to the well-heeled Baron douphol, the emulous lad from Provence makes violent drunken advances at Flora instead. Giorgio germont was more animated than usual but that was probably due to Plácido domingos natural acting skills than any inspired direction. . Gastone was more like a pimp cum drug dealer and violettas regular benefactor a spivvy arriviste lacking any semblance of aristocratic disdain.
sivadier was formerly a stage comedian but there was nothing even vaguely amusing about the coro di zingarelle and Mattadori Spagnuoli chez flora. A line-dance of seedy hoofers was all he could come up with. Boris Nebylas choreography was similarly uninspired. Sivadier seems to believe his own dramatic sense is superior to that of piave or Verdi and changed several notable entries. Alfredo is seen staggering around at Floras soirée drunk as a skunk from the outset, which makes no sense when the other guests greet him with Alfredo, voi 53 partitura pages after he has been on stage. . Similarly, père germont wanders in to the party like a self-conscious gate-crasher a long time before his outraged di sprezzo degno sé stesso rende! This is normally a powerful coup de théâtre with the furious father making a highly dramatic entrance con entry dignitoso fuoco accompanied by crashing cymbals, but not even Plácido domingos presence could lift the scene from being excruciatingly banal. .
Violetta is supposed to have sold her possessions in Paris, not in the country but there is not even a desk for her to write her fateful letter to Alfredo. . The villa is so magnificent even Germont remarks Pur tanto lusso! The note is scribbled on a scrap of paper balanced precariously on violettas lap. Even Mariusz Trelińskis swimming pool setting in Warsaw was preferable. In case the audience forgot which opera they were looking at, the words violetta Traviata were daubed graffiti-like on a rear wall in the last Act. . With the subtlety of one of azucenas anvils, the letters were slowly erased even before Addio, del passato. There was no cameo for violettta to give alfredo for his future bride during Predi questè limmagine but instead a simple ring. Similarly, the camellia which she gives to her eager young admirer in Act one looked more like a withering dandelion. . For some reason, Alfredos smart cream suit jacket became an idée fixe with violetta wearing it in Act two, then giving it to père germont before it somehow turns up again on the floor of the death scene. .
Francesco maria piaves libretto and stage directions are so detailed any director with access to a few lengths of velvet and some stock chandeliers can create a plausible mis-en-scène to serve verdis marvelous, emotive music. French director jean-François sivadier, whose operatic resumé is shorter than a rossini semiquaver, managed to turn the glamorous demi-monde divertissements of 19th century paris into a tawdry contemporary street-life setting much closer to la goutte dOr than the avenue foch. . This co-production from 2011 with the adventurous Festival of Aix-en-Provence and the illustrious wiener Staatsoper seems to have made a bad bargain in replacing the previous picture-postcard staging by Otto Schenk which was first seen in 1971. Forget Verdi piave, alexandre de dardels bare stage was drab and utterly charmless. A few chairs scattered around is a long way from Napoleon iii opulence. . There were several small painted screens of clouds more suitable to a commedia dellarte side-show which appeared with irritatingly regularity despite the fact that all the scenes are indoors. .
The consistent absence of props also made violettas financial decline kite into abject poverty visually unnoticeable. Piave and Dumas intended to create a stark contrast between the gilded grandeur of the dazzling salon in the first Act and miserable, furniture-bereft flat in Act three, but given the uniform scenic emptiness, this was impossible to convey. . Actually both violetta and Flora appear to be homeless and the party scenes take place in what could be empty car-parks. Beds are also in short supply and the idyllic love-nest in the countryside has only a shabby mattress on the floor. Violetta doesnt even get a bed to die on but sits on a wooden chair chewing the fat with Annina. .
More reviews, the working relationship between sivadier and Dessay plays like a duet as they pick up on each others ideas, bounce them back and forth in sometimes differing directions, and build to an epiphany before moving. Helmer beziat often homes in on sivadier as, lost in thought, he listens intently to the singers or dreams up bits of business to enhance the staging. Aside from suggestions about volume or emphases on certain words, sivadier interferes little with the singing itself; almost all his efforts are aimed at blocking out action, so as to wring the last drop of emotion from each movement. The breathtaking vibrancy of Dessays thesping sweeps the viewer along as completely on the fifth run-through as on the first. Dessays quicksilver absorption of sivadiers suggestions, her gestures full of quivering, ecstatic energy, lends the docu immediacy, her performance almost leaping to the rafters. The usual barriers that opera constructs between performers and audience with opulent costumes and grandiose sets are here reduced to a bare set with a chair and chandeliers, or partial flats of pastoral gardens and blue skies used to indicate scene changes.
The films Verdi score works in tandem with the onscreen action, and occasionally counterpoints the movements of sivadier and the cast, beziat sometimes even presenting images of players speaking and gesticulating in total silence. In contrast to the constant give-and-take that characterizes the sivadier/Dessay partnership, conductor louis Langrees relaxed, convivial guidance of the london Symphony Orchestra builds in one-way fashion. The film heightens the intensity of its two lead subjects rigorous sessions via closeups and two-shots, and even by framing them at the center of full-cast scenes. But beziat eschews showing even a fragment of the actual final performance; the process of creating, moment by moment, the extraordinary figure of Dessays doomed violetta dominates here. For the record, recycling la traviata is not exactly new ground for sivadier, one of whose recent interactive plays, titled Italienne avec orchestre, invites audience members into the orchestra pit, where sivadier directs them as he would his musicians. It is not too difficult to stage verdis ever-popular tear-jerker la traviata.
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Edit, details, country: France, language: Italian, release date: (France see more ». Filming Locations: Aix -en-Provence, bouches-du-Rhône, france, company Credits, production Co: Arte France, bel Air Media, business festival d aix -en-Provence. See more show more on, imdbPro technical Specs, runtime: 139 min. Color: Color, aspect Ratio: 16:9 hd see full technical specs edit, did you know? Connections, featured in, traviata et nous (2012). See more getting Started, contributor Zone contribute to This Page. Riveting docu, becoming, traviata follows French theater/opera director jean-Francois sivadier and celebrated soprano natalie dessay through resumes rehearsals for la traviata, in a new production that strains for a perfect marriage of theater and music through an electrifying reimagining of the title role. A veteran of several music-themed docs, helmer Philippe beziat covers key dramatic moments through numerous successive rehearsals, focusing on director and diva as they invent, repeat, refine and perfect their nouvelle violetta, scene by scene. A treat for fans of opera, the performing arts and documentaries about process, becoming reps prime arthouse fare.
Here, tézier and Dessay's duet was devastating. This was a production that brought out all the complexities of the relationships between the three central characters: violetta, alfredo and giorgio. Elsewhere, the chorus was on top form toe-tapping, hip-wiggling animal and partying, as the modern-dress (indeterminate but with a hint of 1950s) production required. Lso under conductor louis Langrée was a winning combination. And, with the opera set as if for a rehearsal. La traviata we had stagehands pulling across the curtain, chairs moved around stage when it finished, long after midnight, it was hard to believe that none of the characters were real. Rebecca Franks is reviews editor. Bbc music Magazine, natalie dessay sings in the final performance. La traviata at the, aix-en-Provence festiva l on, article type: Blog.
handling of Act. Verdis heroine is the fallen woman the 'la traviata' of the title. Giorgio germont, Alfredos father, sees her as such; as does the suitor of his daughter. So he demands the ultimate sacrifice of her: to give up Alfredo. The scene is crucial: Germonts initial callous request receives an indignant response from violetta. Why would she give up her happiness? But as they continue to talk, and he pleads with her, she softens until she agrees to sacrifice her love for his family. Giorgio, given a polished rendition here by baritone ludovic tézier, sees this as a noble action; ironically violetta has shown herself to have the strength of character and morals that he thought she lacked. Even as the pair sing to each other 'be happy, farewell it's clear that from this point on violetta's fate is sealed.
Dessay isn't the obvious choice to play violetta. The role requires a powerful dramatic soprano, rather than the high, light coloratura voice dessay possesses. Im maybe not the right soprano to sing it, she tells me, but Im the right person to play the role because i have a lot to express as an actress. And, after seeing her performance, i'd agree. Yes, there might be moments when her voice shows the strain although there are moments of great beauty and breathtaking agility as well but her acting makes her performance a triumph. From the moment Dessay throws a coquettish glance back over her shoulder to draw the audience into the opera's action, her portrayal of the doomed courtesan is compelling, thrilling and completely believable. In Act i, violetta is a holly golightly-esque socialite, a hedonistic party animal with a taste for alcohol that suggests that tuberculosis might not be her only health problem. After Alfredo ardently sung by Charles Castronovo declares summary his love, her indecision between choosing a life of sensual pleasure or one of committed love is brilliantly portrayed. She falls in love again, convincingly.
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Rating: Bonjour from Aix-en-Provence, a beautiful city in southern France. Tucked away in its picturesque centre, all meandering streets and tree-lined boulevards, is the palais de l'Archevêché. And snuggled within the ancient walls of this former Archbishop's palace is a fully formed outdoor opera house. With the starry night sky for a roof, and the soft mistral wind rustling the leaves of a tree next to the stage, there's a touch of midsummer magic about the place. Then, of course, there's the glitz of the cast and musicians. This is a small city, but it's an international festival. For Verdi's, la assignment traviata, the lso is in the pit; French soprano natalie dessay is on stage. Dessay first took on the role of violetta two years ago in Santa fe, and her first European appearance in the role this summer has both divided the critics and been the talking point of this production.