Verdi: La Traviata

Verdi: La Traviata

Verdi: La Traviata
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CD Details

Composer: Giuseppe Verdi
Conductor: Carlo Rizzi
Orchestra: Mozarteum Orchester
Orchestra: Salzburg Mozarteum Orchestra
Orchestra: Vienna Philharmonic Orchestra
Performer: Anna Netrebko
Performer: Diane Pilcher
Performer: Dritan Luca
Performer: Friedrich Springer
Performer: Helene Schneiderman
Performer: Herman Wallén
Performer: Luigi Roni
Performer: Paul Gay
Performer: Rolando Villazón
Performer: Salvatore Cordella
Performer: Thomas Hampson
Edition: Music CD
CD Release Date: 2005-11-08
Music Label: Deutsche Grammophon
Soundtracks:
Music CD 1
  1. Prelude
  2. Dell'invito trascorsa è già l'ora
  3. Libiamo ne'lieti calici (Brindisi)
  4. Un dì felice, eterea
  5. Ebben? che diavol fate?
  6. Si ridesta in ciel l'aurora
  7. E strano! - "Ah, fors'è lui"
  8. Follie! Delirio vano è questo! - "Sempre libera"
  9. Lunge da lei - "De' miei bollenti spiriti"
  10. Annina, donde vieni? - "Oh mio rimorso!"
  11. Alfredo? "Per Parigi or or partiva"
  12. Pura siccome un angelo
  13. Non sapete quale affetto
  14. Un dì, quando le veneri
  15. Ah! Dite alla giovine
  16. Imponete "Non amarlo ditegli"
  17. Dammi tu forza, o cielo!
  18. Che fai? "Nulla"
  19. Ah, vive sol quel core
  20. Di Provenza il mar, il suol
  21. Né rispondi d'un padre all'affetto? - "No, non udrai rimproveri"
Music CD 2
  1. Avrem lieta di maschere la notte
  2. Noi siamo zingarelle
  3. Di Madride noi siam mattadori
  4. Alfredo! Voi!
  5. Invitato a qui seguirmi
  6. Ogni suo aver tal femmina
  7. Di sprezzo degno se stesso rende
  8. Alfredo, Alfredo, di questo core
  9. Prelude
  10. Annina? "Comandate?"
  11. Teneste la promessa...Addio del passato
  12. Largo a quadrupede
  13. Signora...Che t'accadde...Parigi, o cara
  14. Ah, non più! - "Ah! Gran Dio! Morir sì giovine"
  15. Ah, Violetta! "Voi? Signor?"
  16. Prendi, quest'è l'immagine

Music reviews of Verdi: La Traviata

Music Review: Vital Performance of Verdi's Popular Classic With Two of the Three Principals in Prime Form
Rating: 4 Stars

Having just seen Garbo's definitive Camille again, I had my appetite whetted at the prospect of the dream team of soprano Anna Netrebko, tenor Rolando Villazón and baritone Thomas Hampson on this latest recording of Verdi's "La Traviata". Based on the same source - Alexandre Dumas's play, "The Lady of the Camellias" - and under the direction of Carlo Rizzi leading the Wiener Philharmoniker (Vienna Philharmonic), the classic opera represents a prime opportunity to intertwine grand romantic melodrama with many of Verdi's most famous arias and duets. Even though there are choruses and set pieces, it is really more a chamber opera, and you need three powerfully sculpted voices to make this a momentous occasion. For the most part, it is though there are definite flaws. Captured last summer at the Salzburg Festival, the live performance has been immaculately recorded and sounds well-balanced and fulsome.

Cast in Callas's shadow as the passionate Violetta, Netrebko gives a vocally impressive performance while creating a poignant study of a woman given to equal parts great passion and deep love once she discovers renewed life with her lover Alfredo. I already had a sneak preview of her Violetta on her 2004 recital disc, "Sempre Libera". There she dexterously ran a wide-ranging emotional gamut to carry off the Act I climax, "E stano...Ah, fors'è lui...Sempre libera". Gratefully, even though she can get precocious, her performance here is better within the context of the opera where she has to convey a delicate balance between effusively romantic and shamelessly decadent. Despite her young years, Netrebko produces a surprisingly warm sound using her lower register to great dramatic effect, for example, on her burnished handling of the final aria, "Gran dio! Morir si giovane!". Her charisma is unforced even on disc as she exudes an aura of fragility and melancholy with each arching phrase and shimmering roulade. On the downside, her Italianate diction can get problematic at times, and there is a nagging wobble on the more challenging notes. Alternating between radiance and desperation, she still makes Violetta's last moments palpable. It's too soon to compare her fairly with Callas, Sutherland or even Angela Gheorghiu, but this is strong work regardless.

Villazón's Alfredo is even better, as he is a fearless actor unafraid to expose the young lover's often pathetic, obsessive character. In the thoroughly realistic dialogue before Act I's "Un di felice, eterea" his tentative attitude is charming, and he manages to be both persistent and thoughtful in the duet itself. Sometimes flamboyant in style with an extremely flexible voice, he spins out each phrase but shows an almost improvisational style in his shading and inflections. His opening in Act II, "Lunge de lei... De' miei bollenti spiriti...O mio rimorso" is viscerally powerful, and he handles his character's seething anger in the gambling scene with vocal conviction. Together, Netrebko and Villazón blend seamlessly, often magnificently, a strong example being the poignant "Oh mia Violetta, oh joy" in the last act.

My one casting disappointment is Hampson as Gérmont, who doesn't really make an impact until Act II. While he's generally a wonderful singer, Hampson sounds comparatively disengaged in his performance unable to complete a dramatic arc for his character from his individual scenes. This is a shame since a compatible dynamic among the three characters is vital to the success of the work. Unfortunately, he often misses in capturing the vital anger of Gérmont, most critically during the Act II duets with Netrebko, where she needs to respond to him with fear and resignation. By the time of his ending aria in Act II, "Di provenza il mar, il suol", he sounds downright exhausted. Rizzi's musical direction shows a fluent understanding of the opera, although there are passages that sound a little too lightning-quick. The exception is the death scene where Rizzi's leadership gives way to music that feels too lugubrious given the way the singers are performing. The Vienna Philharmonic and State Opera chorus accompany expertly and for the most part, unobtrusively.
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