Auckland Philharmonia deliver powerful La Traviata performance – William Dart

The La Traviata cast take their applause: (from left) Pelham Andrews as Baron Douphol, Andrew Goodwin as Gastone de Letorières, Felicity Tomkins as Annina, Phillip Rhodes as Germont, Giordano Bellincampi, Luiza Fatyol as Violetta, Oliver Sewell as Alfredo, Katie Trigg as Flora Bervoix, Joel Amosa as Doctor Grenvil and James Ioelu as Marquis D’Obigny. Photo / Sav Schulman

Auckland Philharmonia’s annual Opera in Concert holds a special place in our musical calendar, sometimes offering works unlikely ever to be fully staged, such as 2024’s triumphant Die Tote Stadt.

This year’s La Traviata may have seemed a comparatively conservative choice, although it did draw a full house and how could one question an opera adored by composers from Tchaikovsky to Britten?

Frances Moore’s stage direction responded to the venue with ingenuity. The first party scene introduced the lively New Zealand Opera Chorus above the orchestra, in full mingle mode, scores in hand, clustered around Alfredo for his lusty drinking song.

In the second act, this placement lent weight to Alfredo’s rejection, a judgment from on high as it were, and all the more effective after the light-hearted comedy of Gastone’s matador song, with its hilarious and unexpected consequences.

In general, the issue of sight lines made for too many disembodied voices as singers vanished from sight for those sitting in the circle.

Much of the second act’s powerfully played confrontation between Violetta, Giorgio and Alfredo was diluted by one only seeing one of the parties involved.

Musically, however, there was little cause for concern.

Oliver Sewell as Alfredo and Luiza Fatyol as Violetta. Photo / Sav Schulman

Luiza Fatyol brought spirit and soul to Verdi’s heroine. Her emotional and physical descent in the final act, with its harrowing outburst of defiance, was exquisitely charted, with heartrending arias.

What a pleasure it was enjoying Oliver Sewell in the substantial role of Alfredo, which he inhabited in all of the character’s strengths and weaknesses, from swaggering braggadocio to a very contemporary vulnerability.

Oliver Sewell as Alfredo (left) and Phillip Rhodes as Giorgio. Photo / Sav Schulman

Phillip Rhodes’ outstanding portrayal of Giorgio displayed the same range, effortlessly moving from intense fury to remorseful nobility.

Early on, Andrew Goodwin’s sharply-drawn Gastone set the standards for a strong supporting cast.

Opera in concert highlights the sterling contribution of maestro Giordano Bellincampi and his fine musicians, enjoying not only the earthy, extrovert energy of the score but also its exquisite detailing.