Verdi’s “poor sinner” was on the Met’s HD roster for an unprecedented fourth time today. Michael Mayer’s overstuffed production remains a motley melange of confused early to mid 19th century costumes speckled across a unitary set. But nobody goes to La Traviata because of the sets and costumes. It’s Verdi’s glorious and emotionally apposite music that has been selling out houses for 17 decades.

Unlike any of the master’s other operas, this one depends entirely on the soprano who performs the title role. Nadine Sierra has the whole package. Voice, looks, acting – all combined make her Violetta as good as can be found anywhere in the world. She managed the vocal acrobatics of the first act with aplomb hitting the climactic optional high E flat that ends Act 1 square on. The encounter with the elder Germont in Act 2 had all the pathos and nobility written into the part. Her death scene was worth at least four tissues. Her performance alone was worth a trip to the theater. That the two other principals were also first rate rate made the show a triple winner.

I last heard Stephen Costello in Santa Fe as Gounod’s Romeo. I was taken by the beauty of his voice and the insecurity of his top notes. I wrote of his performance that if he could get his top under control he would be at the forefront of opera’s tenors. Well, they were fine today and had ping. His tone was beautifully modulated to meet the requirements of the music. In short, he sounded like the world class tenor I thought he could become. He’s also due to appear in La Bohème and Rigoletto at the Met later in this season.

Luca Salsi was a vocally fine Germont, though his acting made him seem a bit gruff. He too has a busy schedule with the Met. He will appear as Rigoletto, Amonasro in Aida, and as Scarpia in Tosca later as the season progresses. His fine baritone seems just right for Verdi. He said during an intermission interview that he has sung 21 Verdi roles.

The smaller parts were all done with artistry. Particularly noteworthy was Brian Major as the Baron. This is a part that often gets lost in the throng, but Major gave it some distinction.

The there was the ballet in Act 2 scene 2. Instead of matadors from Madrid, we had bare chested dancers from the Bronx. Ballet in opera is typically an embarrassment. So, I won’t delve deeper into the subject.

Maestro Daniele Callegari led a nuanced reading of Verdi’s intimate masterpiece. For whatever reason he allowed the cabalettas to both the tenor and baritone arias in Act 2 to be performed. They are often omitted. As Julian Budden wrote in his definitive exegesis of all the Verdi operas, the cabaletta is “fundamentally alien to the world of La Traviata as it is basic to that of Il Trovatore.” Nevertheless, he wouldn’t advise cutting them.

Traviata is likely the most frequently performed opera in the world. It was the first opera I ever saw a long, long time ago. I’ve seen it many times since then and it never fails capture the emotional core of the audience. This fine performance showed why it is so well loved. Verdi thought that the opera was so constructed that it could succeed even with a less than first rate cast. When it has a great cast, as it did today, the full scope of Verdi’s unique genius to depict the force and feelings of those states of consciousness common to all men is made apparent. It grasps the heart. If you missed it today, go to the encore presentation.

Metropolitan Opera House
November 5, 2022

LA TRAVIATA 
Giuseppe Verdi–Francesco Maria Piave

Violetta…………………Nadine Sierra
Alfredo………………….Stephen Costello
Germont………………….Luca Salsi
Flora……………………Siphokazi Molteno
Gastone………………….Jonah Hoskins
Baron Douphol…………….Brian Major
Marquis D’Obigny………….Jeongcheol Cha
Dr. Grenvil………………Paul Corona
Annina…………………..Eve Gigliotti
Giuseppe…………………Patrick Miller
Messenger………………..Jonathan Scott
Germont’s Daughter………..Allegra Herman
Dancer…………………..Barton Cowperthwaite
Dancer…………………..Cara Seymour

Conductor………………..Daniele Callegari

Production……………….Michael Mayer
Set Designer……………..Christine Jones
Costume Designer………….Susan Hilferty
Lighting Designer…………Kevin Adams
Choreographer…………….Lorin Latarro
Stage Director……………Sarah Ina Meyers
Video Director………….Gary Halvorson