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Netrebko in SF Opera’s La Traviata

Netrebko-castronovo * Notes * 
Marta Domingo's "Jazz Age" production of La Traviata opened at San Francisco Opera last night. The performance marked the long-awaited return of Anna Netrebko to the War Memorial stage, as she was last here four years ago, singing Musetta in La Bohème. Netrebko did not disappoint as Violetta, her sound is rich and bright, and she has retained her good looks. Her voice has become quite full, and her volume was sometimes overwhelming. She and Charles Castronovo (Alfredo) made for an attractive pair, even though he did sound muted in comparison. Castronovo's tenor is warm and pretty, with very little strain. As Germont, Dwayne Croft did well considering he was recovering from a sinus infection. He rushed during his big aria in Act II, but the fineness of his voice did come through. The supporting cast was perfectly respectable, though perhaps less than arresting. The chorus produced a lovely sound, but were not exactly on beat with the orchestra near the end of Act I. There seemed to be a great deal of asynchrony in general, even for the opening of a new production. There were pleasing individual moments from the orchestra, however, it was not a particularly inspired performance overall.

The staging was artificial and incoherent. The sets for the first and last acts were elegant, very simple, but the Act II sets were overwrought. None of them made a good deal of sense taken together, and I was especially displeased by the return of the blinding disco ball from La Rondine. The costumes were lost, because of the colors used, they just did not read well. None of Netrebko's costumes were flattering, though the gowns were sumptuous with clean lines. Her outfit in Act II was strangely elvin, she looked like an extra from Lord of the Rings. The choreography was sloppy, the dancers were not together, and it was bizarre that they had an Arabic theme for both the Egyptian and the Spanish pieces. Worse yet were the movements of the singers, they looked stiff, like marionettes. There was no dramatic tension in the choreography whatsoever, as evidenced by the falls that Netrebko took both at the end of Acts II and III. Unfortunately, one cannot use a gag like that twice without being trite.

* Tattling * 
There was very little talking, and no electronic noise besides some hearing aid squeals. The audience was very taken with Netrebko and seemed highly engaged and attentive.

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14 responses to “Netrebko in SF Opera’s La Traviata”

  1. EKK Avatar
    EKK

    Hi Opera Tattler,
    I was at Saturday’s performance as well. I was hoping to see you and say hello as I’ve enjoyed reading your comments. It’s wonderful to have a blog centered on San Francisco. 😀
    I sat in the Orchestra section and from your previous notes, I noticed you are a loyal standing room patron. However, I did not recognize anyone that looked like you and I was too shy to ask. 😦
    If you’re going to be at the final Tosca, and have time, I’d love to set up a time to meet; I’ll buy you a glass of champagne.
    I sort of agree with your comments. I thought the singing in general was fine. I did not care for the sets — why didn’t SF just use the very nice production they own. I had heard that they were originally going to import the Vienna production, but something must have happened.
    When I was reading the notes by Marta Domingo in the program, I was very interested in seeing the production. However, I found it rather lack luster and sort of cheap looking and rather bare – except for the car. The connection between the demi-monde and the Jazz age was interesting. Too bad it didn’t quite jell.
    It was nice to hear Anna again. I take great pride in telling people I was in the audience of her US debut in Ruslan and Ludmilla many years ago. I think it’s great that Anna has done so well. People who have met her tell me she is a very lovely girl. Good to hear that fame hasn’t ruined her so to speak.
    However, I was rather disappointed that her characterization of Violetta wasn’t more developed. She is clearly an Act 2 Violetta. I thought her coloratura was very careful in Act I and I was hoping she would opt for the high E-flat to end the act. After all she did sing Lucia and Elvira.
    I never got the feeling that this Violetta was sick and fragile. Something one hears in the interpretations by Callas or Stratas – acting with the voice. Anna has a strong voice and she used it throughout the opera.
    Act III was the most disappointing. The singing again did not suggest death and the staging certainly didn’t help. If she is hours before death what was she doing moving around and standing so much. It was just a disconnect.
    I thought Castronova has a nice lyric voice, but it’s rather small for such a large house as SF. He did his best, but his voice is just too light to make the dramatic impact needed in Act 2 (insult of Violetta). I think he also skipped out on the top note at the end of his big Act 2 aria. I’m not absolutely certain, but I thought that aria is capped by a high C.
    I thought Croft was fine. It’s my first time hearing him and I liked his voice. If they didn’t make the announcement, I would have not really noticed he was suffering from a sinus infection. He was very careful with his voice, but overall I thought it was lovely.
    Anyway, just wanted to share my thoughts. I am by no means an expert; just someone who loves opera and Traviata in particular.
    Hope you’ll be at the final Tosca.
    Your Fan from the Valley…
    -ed

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  2. The Opera Tattler Avatar
    The Opera Tattler

    Thanks for your comments! Unfortunately, I’ll be at the final performance of Tosca, but backstage. I hope you enjoy it though!

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  3. graustark Avatar
    graustark

    I enjoyed reading your perceptive comments. Netrebko has always struck me as being rather superficial.

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  4. Johnny Avatar
    Johnny

    Castronovo sang a splendid Alfredo! I think his voice is pure gold….and his phrasing and physical voice is very reliable and regal. He reminds of me of Alfredo Kraus….with more heft and nobility!
    Netrebko also sang well too, despite some self-indulgent acting prowess….turning her back to the audience during portions of “Sempre libera.”
    Netrebko-Castronovo make a great stage couple perhaps he’ll pick up where Rolando Villazon flamed out? Let’s face it, Villazon is finished….tragically.
    Unfortunately Dwayne Croft suffered tremendously. I feel he’s slightly over-the-hill now…..despite a distinguished career as a baritone!! I did not buy that pre-performance announcement, I heard from reliable sources during the rehearsal process that he arrived in bad shape….and his opening night performance confirmed that….he marked many notes during the final dress.
    One final comment….the production was trash. The act 2 party scene at Flora’s reminded me of the shoot out scene from Scarface! Disco ball….pleez! So 1990’s high school!!

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  5. The Opera Tattler Avatar
    The Opera Tattler

    I found Castronovo very pleasing, but he was a bit quiet for the Brindisi last night.
    Croft was sounding pretty “old-man baritone,” though in a way that suits the role. I think he must have moved me though, as his aria was the one that got stuck in my head for the last few days.

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  6. Johnny Avatar
    Johnny

    Well, assuming Runnicles took the same tempo as opening night, I find it quite difficult for any tenor to sing “Libiamo” well….too sprite a tempo for my taste….I don’t think I’ve ever heard such a brisk tempo (live or recorded).
    Do you attend every performance?

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  7. Opera monsta Avatar
    Opera monsta

    Speaking of Brindisi, this link just surfaced on youtube. Your readers can judge for themselves.
    http://www.youtube.com/watch?v=xFGydfqurRk

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  8. The Opera Tattler Avatar
    The Opera Tattler

    It was brisk!
    No, of late I’ve been doing my best not to go to every performance, but I tend to hit the early ones, as I like to see them all from the orchestra level and then hear them up in the balcony. The last time I heard every performance in a run was Idomeneo last Fall.

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  9. The Opera Tattler Avatar
    The Opera Tattler

    Thank you!

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  10. graustark Avatar
    graustark

    This makes me glad I spent only $15 for a ticket for next Thurday’s performance.

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  11. Roberto Avatar
    Roberto

    I went to the 6/25 performance.
    Sometimes it happens. Sometimes we have high expectations on something but we have to lower that as if it is our natural way of defense to not get easily frustrated. At the same time, we don’t want to lower the expectations because, after all, that wouldn’t be fair. So we are in this dilemma. But sometimes it happens. We expect something really intensively and we try to not expect that much and in the end, it surpasses our expectations. It happened yesterday with Anna Netrebko in La Traviatta. She had everything: voice, acting, charisma, personality, beauty and, once again, voice, a lot of voice.
    First act is all about coloratura and she was amazing. I noticed from the beginning that they were singing “come scritto”, so I wasn’t surprised that she didn’t end “Sempre Libera” with the high E-flat. Sometimes the conductor doesn’t allow, sometimes they don’t want. We never know. But I liked the fact that Runnicles slowed down his much-welcomed fast tempos so we could experience Netrebko’s beautiful legato.
    Castronovo was fine. He lacked intensity, but his voice is beautiful and I was pleased with his overall tone. Was he Don Otavio on SF latest Don Giovanni production? At the time, I didn’t care much about him. Maybe because Don Otavio is such a boring character and I never cared much about any Don Otavio. Either way, I have a much better impression of Castronovo.
    Second act is the big one to me. While everybody talks about Violetta and Alfredo, I am very fond of Giorgio Germont’s scenes. If I don’t have a good Germont, it is like going to the Louvre without seeing the Mona Lisa. Verdi wrote so many of these baritone-soprano duets and I always found each one of them totally amazing. This one between Violetta and Germont is astounding. The father asks the to-be-daughter to not be his daughter and the duet evolves as if she is his daughter. There are a lot of nuances on this duet. Classical Verdi. I cannot have enough of it.
    Before the performance, I was browsing youtube and saw some great duets: Of course we have Callas/Bastianini, but also Ponselle/Tibbett, Leonard Warren/Steber, my compatriot Bidu Sayao/Warren, Mirella Freni/Sherill Milnes, the amazing Gino Bechi and Anna Moffo, Renee Fleming and Dmitri Hvorostovsky on great performances (it made me to rethink about Renee Fleming), Renato Bruson and so on. Youtube is awesome!
    Therefore, as you can imagine, I have some expectations about Dwayne Croft, a singer that was unknown to me. It didn’t take long for me to realize that he was too young (vocally and physically) for Germont. Vermont is about grey hair. The baritone needs to sound firm (meaning deep) and have some charming wear on the voice. I welcome a vocally imperfect Germont if I have maturity, wisdom, strength and character. There is nothing more beautiful to hear a great baritone that passed his prime to sing Germont (just don’t include Jose Van Dam to the list).
    But I didn’t want to be disappointed and I put aside all my prejudices and in the end I was pleased with Croft. His acting was non-existing. When Violetta sang, all he did was to give her (and the audience) his back, as if he was stressed out. However, when I have a good voice, I don’t care much about the acting. Even if Croft’s voice was not as deep as the great ones that I saw on youtube, there was a sweetness and velvet element on it that was very much embraced. I liked him a lot and above all, he captivated the audience. I just wished that Runnicles slowed down a little bit “Di Provenza il mar, il suol”.
    Second act, second scene: Castronovo has his best moment of the night. I also liked the Egyptian dancers.
    On the third act, Netrebko read/sang that letter that cannot be read/sing and the “addio del passato” that followed it was simple put outstanding. It is one of these things that we try never to forget.
    The production was excellent. If they recycled some Rondine props, that’s ok to me. Once again, Runnicles and the orchestra were top-notch.
    In the curtain call, when the curtain was falling for the last time, Netrebko started to jump as happy as a 5 years old kid when receives a new bike. I am pretty sure she was really glad with her performance and the general outcome of this production. Big thumbs up from me!

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  12. The Opera Tattler Avatar
    The Opera Tattler

    That’s great that you enjoyed the performance! I’m with you on Germont, I think that’s my favorite role in the opera.
    I think I liked Castronovo more in Mozart, but also, I think I like Mozart more than Verdi, so I’m very biased.

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  13. Roberto Avatar
    Roberto

    Please don’t get me wrong. Mozart is #1 to me.

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  14. VEDIII Avatar
    VEDIII

    I loved that she jumped like mad at the end of the curtain call.

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