La Traviata: A cruel ending from the bliss all seek

Many famous plays explore the ubiquitous theme of tragic love, and La Traviata was no different. The playwright, Giuseppe Verdi, based this opera on a novel titled La Dame aux Camelias by Alexandre Dumas. The tale is essentially one where each character pursues his/her own ideals of love. Our guest writer, Ben Low, reviews this heart-tugging Opera.

Summary

The plot centers around a courtesan named Violetta who devotes her heart to an affectionate suitor named Alfredo. Alfredo’s father, Germont, vehemently pleads with Violetta to leave Alfredo lest “their roses of love turn to flowers of sadness”; a plea which eventually moves a guilt-ridden Violetta. Alfredo later confronts his father on the issue, and the former’s other reason becomes clear - it was about family honour.

Alfredo suspects that Violetta, who got so easily swayed, wasn’t completely faithful and leaves when she falsely admits her love for another. Once his rage has simmered, he returns to find Violetta dying of tuberculosis. His return raises the spirits of the dying Violetta, as does remorseful Germont’s acknowledgment of her as his daughter-in-law, but they couldn’t raise her from the impending grave. As Violetta says, “Is this the cruel ending for all the bliss that we longed?”

Review

Expressing this plot in a way comprehensible to local audiences was no easy task, as La Traviata was performed in Italian. But the Singapore Lyric Opera managed it nonetheless. English and Mandarin translations were flashed on two LCD screens flanking the stage. In addition, lyrics were also flashed in small segments to complement the sentimental conjurations of the orchestra below the stage. Indeed, the music alternated between beautiful melancholy and playful, carefree melodies.

On the issue of expression, La Traviata’s lead cast did a fantastic job. If singing for half-hour bouts wasn't easy, singing with sufficient volume to an audience of hundred without microphones was harder. Having to express a character’s sentiments through movement while singing your lines in sync with an orchestra is nothing short of artistic enterprise. Their efforts seemed successful enough to make one weep. Mr. Guy, an avid theatre-going gentleman from Southern France commented, “I think the lady playing Violetta (played by Nancy Yuen) has a very good voice. She sings very well with the orchestra playing very little. Alfredo (played by Lee Jae Wook) has a very good Italian accent.”

“Bel Canto” he says, meaning beautiful singing in Italian, is what the Singapore Lyric Opera did to express a tale of tragic love through the nuances of music and theatre culminating in a grand work of art that softened the heart and filled eyes with tears.

By Benjamin Low (guest writer)