The Canadian Opera Company’s widely acclaimed production of Verdi’s La Traviata returns this fall, and it’s just as great as you remember it.
A co-production with the Lyric Opera of Chicago and Houston Grand Opera, Arin Arbus’s Traviata premiered here, in Toronto, back in 2015, to rave reviews and enthusiastic audiences. More-or-less traditionally costumed, with a few lightly surrealistic touches – like the giant, skeletal bull marionettes during the “Noi siamo zingarelle” dance/chorus – it looks great, the orchestra is rock solid, and the singing divine.
La Traviata, adapted from the novel/stageplay La Dame aux camélias by Alexandre Dumas fils, offers a familiar operatic plot: Violetta Valéry (soprano Kathryn Lewek) is a courtesan who, as of its opening moments, is recovering from a recent illness, though she still suffers from a lingering cough. Used to life of luxury and superficiality, she is shocked to discover the possibility of love, real love, with young courtier Alfredo Germont (tenor Long Long), who has secretly been admiring her from afar. The relatively small central cast is rounded out by Alfredo’s father, Giorgio (baritone Russell Braun), who appears briefly but memorably in Act II.
On to the good stuff: Riccardo Hernandez’s sets are wonderful, evoking 19th century ballrooms and cavernous summer mansions with a few well-placed moveable walls and period-accurate décor. Cait O’Connor’s costumes are also lovely; not only Violetta’s inevitably elegant dresses but also those of the supporting cast/chorus, who get quite a bit to do across the opera’s three acts – including, most importantly, during the extraordinary Act II finale, quite possibly the greatest moment in opera.
I’m perhaps ill-placed to review La Traviata.
It’s my favourite opera, I’m convinced that it’s perfect, and it is very, very hard for me to objectively comment on it.
That said, I am able to comment on some specifics about this particular production, specifically its singers.
Hometown favourite Braun is the clear standout, with a pitch-perfect, not to mention well-acted, performance of the arguably problematic father figure, Giorgio. Germont père is, in a sense, the source of all Violetta’s woes (well… not all), and it’s to Braun’s credit that he manages to portray him almost sympathetically. The Act II duet between Giorgio and Violetta might even be the second-best musical moment in an opera which is full of legendary musical moments.
Tenor Long Long is also very good as Alfredo. Like Braun, Long is a wonderful actor, bringing the young lover to life while effortlessly delivering hit after hit, including the wonderful Act I duet “Un dì, felice, eterea”, Act II’s “Lunge da lei”, and, of course, the celebratory brindisi / “Libiamo ne’ lieti calici”.
The weakest link, albeit still quite good, is Kathryn Lewek. Regularly on the verge of getting drowned out by the orchestra, it’s possible she was just having an off-night, and we should also fault conductor Paolo Carignani for allowing his orchestra to play over her. Still, even with a slightly thinner voice than we might have liked, Lewek ably handled her character’s major arias, including the Act I twofer of “E strano! e strano!” followed by “Sempre libera”.
In the end, though, all that matters is the COC’s nigh-perfect rendition of that aforementioned Act II finale, one of the singular moments in the repertoire. It’s an extraordinarily beautiful musical moment – one that deserves a larger place in the concert repertoire – bringing together nearly the entire ensemble: Violetta, Alfredo, Giorgio, various supporting characters alongside the chorus, in perfect harmony.
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La Traviata continues at the Four Seasons Centre for the Performing Arts through October 17, 2026.
