The cast of the Komische Oper's La Traviata. Photo: Leonard Turnevicius
(Berlin, Germany) Tonight, it was time to raise a glass for Verdi’s La Traviata at the Komische Oper Berlin.
That is, if there was one.
In Hans Neuenfels’s production of this Verdi standard (sung in Walter Felsenstein’s German translation), there were no drinking glasses to be found in the Brindisi of Act I. And Christof Hetzer’s set for the luxurious country house outside Paris for Act II? A chopping block, and two chairs were all you got. No gaming table either.
But oh, Violetta stood on a mock grave (foreshadowing her death?) that had “Ich bin eine Hure” (I am a whore) inscribed in gold capital letters. And the Act II party scene which took place right after intermission? The females in the chorus, in black and white with some shiny metallic elbow pads, sang while mimicking the actions of wind-up robot dolls. Plus, Neuenfels added a mute character—a greaser dude in a muscle top (without the muscles) who seemed to pop up in way too many scenes. There were occasions when a loudspeaker was lowered from the flies through which some of the offstage music (pre-recorded) was played as well as Violetta’s reading of the letter. Get the picture?
Brigitte Geller was a Violetta to take note of. Pretty to look at, nice to hear. And she interpolated a high E flat at the end of her Act I aria.
Peter Lodahl was a tall and strapping Alfred Germont. He interpolated a lengthy high C at the end of his big aria, except his awkward release sent the note even higher.
Anton Keremidtchiev was a stand out as Georges Germont.
Annina and Flora were well handled by Christiane Oertel and Elisabeth Starzinger respectively.
In the pit, conductor Kristiina Poska couldn’t handle the low brass who consistently played too loudly. They even managed to cover the Komische Oper Chorus on occasion.
If you haven't guessed by now, it was a "komisch" night at the Komische Oper.
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