La Traviata is perhaps one of opera’s most revered and musically exquisite repertoire. Barefoot Opera recreates Verdi’s classic in an intimate theatre in Hackney. Their attempt is bold and innovative.
The staging is neat and modern, but compact and powerful. The small space undoes the theatrical illusion but creates a close distance that provides a sense of intimacy that provides a perfect backdrop for a deeply human and emotionally charged drama. The costumes by Natascha Stolle are also modern and fitting.
The musical direction is interesting. The quartet of piano, double bass, clarinet and accordion is led by the pianist himself, Laurence Panter. Accordian, a quintessentially French cliché, is perhaps a homage to Violetta’s Parisian root, but is short in recreating the melancholic and tender orchestral sound in the original score. The coloratura highlights in ‘Sempre libera’ are somewhat interfered by the accordion whereas it adds well to more light-hearted and festive music in Act I. The limited acoustics of the venue does not add to lushness of the overall sound that La Traviata requires.
There are some good performances by Beren Fidan in Violetta. She sings with considerable dramatic immediacy although the pivotal duet in ‘Un dì, felice, eterea’ lacks a palpable sense of passion and intensity. The ensemble scenes are dynamic and vibrant. The famous ‘Libiamo ne' lieti calici’ is a joy to watch.
Barefoot’s La Traviata is innovative, but the essence of this opera – the musical brilliance – is somewhat left to be desired especially in this stripped-back production.
La Traviata, Arcola Theatre, Grimeborn Opera Festival, 24 – 28 September 2024.
Review: Sam Lee