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Micaele Sparacino General Director and Conductor
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Post critic: a Traviata that brings out 'the full musical and dramatic value in Verdi's brilliant score' Bel Canto's 'Traviata':
There's Less, There's More The Opera Bel Canto production of La Traviata given Sunday at Mount Vernon Place United Methodist Church was nowhere near as glittery and elaborate as the one the Washington Opera will produce later this season. But this performance with a small chamber orchestra was well worth attending. Among other points, it was probably the first truly complete performance ever given in the Washington area, restoring a number of passages that are usually omitted, including a substantial aria for the elder Germont. A note in the program argues that La Traviata should be recognized as "the last bel canto opera," with its "soaring melodies" and "dazzling cadenzas." True enough, but it could also be called the first verismo opera, with its contemporary setting and its doomed, tubercular, demimondaine heroine. This performance showed that it is both. The performance subtly emphasized the bel canto elements, particularly in the often richly ornamented singing of Marje Palmieri (Violetta), who had the finest voice in the cast and used it with intelligence and expressive power. Also vocally outstanding was baritone Jason Stearns as Giorgio Germont. His long scena with Palmieri in Act 2 was one of the musical highlights of the performance. Tenor Antonio Giuliano was generally good as his impetuous son Alfredo, though his voice sometimes had a metallic edge and some of his high notes were ambiguous in intonation. Abigail Endicott began a bit tentatively in the role of the maid Annina, but quickly established a strong vocal and theatrical presence. Six small supporting roles were well filled, the chorus was outstanding, and conductor Micaele Sparacino brought out the full musical and dramatic value in Verdi's brilliant score. There will be a repeat performance Sunday.
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