It was effective nonetheless, a visceral expression of Violetta losing her breath.It must be noted that during this scene Kurzak’s Violetta seemed to be aware her impending death and consequently unlike most sopranos whose voices glow and brighten in “Parigi o caro” and “ora son forte,” Kurzak chose to maintain that grittiness and darkness in her sound.
That was all the more emphasized in the lines “A niuno in terra salvarmi è dato,” which she emoted with potency before going on to sing “Gran Dio!

One could see that her Violetta had just fallen head over heels for Alfredo.Yet as she ended the aria and went into the recitative “Follie, follie,” she sang them with assertion and conviction. Composer. For this revival the Met brought superstar Aleksandra Kurzak, who was taking on the role of {…} One hopes that the rest of the cast starts to shine brighter in order to bring to life Mayer’s sloppy production.FRANCISCO SALAZAR, (Publisher) worked as a reporter for Latin Post where he has had the privilege of interviewing numerous opera stars including Anita Rachvelishvili and Ailyn Perez.

The character came off as unsympathetic, something Germont isn’t. to She threw her glass forcibly and her twirls didn’t seem as organic. Nightly Opera Stream: La Bohème Enjoy the romance and passion of one of opera’s greatest love stories. The self-sacrificing courtesan with a heart of gold, and yes, she's going to die before it's over, and it will be too late to make amends for those who have wronged her. But even so, Kurzak did make it clear from her entrance that this was an ill Violetta, giving the character a slight cough that she ignored quickly.In her first scenes with Alfredo her interactions were flirtatious, but once she got to the duet, she was overcome with so much emotion. It was all about the crudeness of the moment as in this act Verdi gives the soprano many moments to emote which Kurzak relished. In his approach to this classic drama, director Willy Decker sets the action on a nearly bare stage, focusing the audience’s full attention on the three main characters. He holds a Masters in Media Management from the New School and a Bachelor's in Film Production and Italian studies from Hofstra University.Opera is thriving. Francesco Maria Piave.

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However, he tended to be stiff on stage, lacking chemistry and passion with his stage partners. That was emphasized in her “Sempre Libera” which was a tour de force. It was the first revival of the production which scored a divisive reaction from the critics and the audience last season when it premiered.

You shouldn’t have to be constantly working on your suspension of disbelief; great stagecraft is designed to immerse you in the story without making you remember that what you are watching is “fake.”While this performance was rather uneventful at major moments, it was never the result of Kurzak, who despite playing the dying Violetta, was full of energy and life; she was the lifeblood of this showcase.

Kurzak held out the phrases with precision and connected them with elegance and ardor. And she nailed it.Unfortunately, there wasn’t much to marvel about otherwise.In its first revival since last year, Michael Mayer’s production looked 30-years-older.

Synopsis: La Traviata Select a language to update the synopsis text.
Kurzak attempted to show her fear and pain in the Card scene but that tension between them didn’t really read due to the lack of chemistry with Dmytro Popov and the chorus standing upstage, reacting to nothing.However, her “Pietà di me, gran Dio!” was truly affecting and one did feel that conflict in Violetta as she saw her lover. She began reading with a soft tone that slightly crescendoed and obtained a nervousness that eventually ended in her shouting “È tardi!” with pain and terror.

La traviata . Francesco Maria Piave (1810–1876) was Verdi’s librettist during his productive middle period and also worked with him on Verdi’s musical-dramatic ability to portray the individual in a marginalized relationship to society keeps this work a mainstay on the world’s stages.