In a way this production is better Fellini than Fellini. Allowing influence from his films without being overly enamoured of them, Director Elijah Moshinsky manages to draw the opera into the modern era while intensifying Verdi's tight drama. It would have been easy to let the great filmmaker's sardonic sense of humour to infiltrate the opera and mock or belittle the characters to avoid falling too deeply into them, but on the contrary, the company seemed almost always to be sensitive to the characters. Verdi's creation is remarkable how it holds such an intense dramatic tension for so long and with a story which could easily seem an uphill slog. He also manages somehow to keep some sympathy for Rigoletto and ambiguity for the Duke despite their despicable actions. As for the curse, though it is Monterone who first vocalises it, it is really Rigoletto who brings it down on himself.
Francesco Maria Piave
iave’s and Verdi’s adaptation of Dumas fils’ La dame aux camélias is ubiquitous these days, both in regional companies and the major houses, but for some time it hasn’t caught up with me...until now. It is without a doubt regrettable that the audience draw of a handful of operas pushes outstanding less familiar works from the repertoire, and La Traviata is one of the most egregious culprits, but a cast, staging, and musical direction of the calibre I witnessed at La Fenice this Sunday afternoon make all these considerations irrelevant and make it impossible to resist La Traviata as an extraordinary masterpiece that touches basic issues in us all: the life of women in society, the faith of young men in passion, the blindness of good intentions. The results are genuinely tragic, and a performance like this goes far beyond the usual ritual and can genuinely move us.