Also this issue:

Boom Town
CP's dance critics take a look at all four evenings of DanceBoom! at the Wilma.
-D.K and J.A

Artsbeat
-Debra Auspitz

A Night with Dame Edna
-David Anthony Fox

Face Time
-Lori Hill

Party On, Garth
-Deni Kasrel

Stephen Dubner
-Andrew Milner

For the Love of Pig Iron!
-A.D. Amorosi

January 30-February 5, 2003

opera

La Traviata: Verdi Good

by David Shengold

If there is such a thing as "a date opera," this is it. Opera Company of Philadelphia's fine revival of Verdi's evergreen boy-loses-girl tragedy, with two appealing young stars, should conquer anybody's fear of opera and guarantee a romantic evening. The story of the jaded-but-doomed courtesan (here Violetta, not Camille) redeemed briefly by the love of a young country aristocrat (Alfredo Germont) before bourgeois society exacts its toll has been enacted countless times, but Verdi's version, overflowing with catchy melodies and genuine pathos, takes the prize.

Maureen O'Flynn proves vocally light for the testing lead, and in low-lying and heavily orchestrated phrases she will challenge no one's recorded ideal; but she finds a way to use the very fragility of her extremely pretty tone to expressive advantage, and certainly the rapid passagework and high notes are taken with uncommon ease and purity. Maybe a shade too "nice" from the start to create the needed contrast with Alfredo's naiveté, she certainly makes a lovely and (ultimately) very touching stage figure. William Burden continues his winning streak as Philadelphia's favorite tenor. His clear utterance of and detailed response to the text is a pleasure, and when needed he manages to beef up his appealing lyric sound without loss in quality. O'Flynn and Burden make a handsome, convincingly ardent couple. Debuting baritone Franco Vassallo brings good (if rather monochromatic) sound to Papa Germont's music; the impression of sameness is furthered by a lack of facial mobility.

OCP tends to use rising young singers in supporting roles, even those in which more seasoned performers might have an interpretive edge. Easily the best is Tracie Luck, bringing a rich voice and dynamic personality to Violetta's demimondaine gal-pal, Flora. Scott Altman (Marquis) and Matthew Rose (Doctor) also provide fine, detailed cameos.

Corrado Rovaris, probably on balance the strongest of the company's regular conductors, paces the improved orchestra well; on opening night the crucial violins could have provided better ensemble and tone.

Robert B. Driver's 1997 staging presents the plot cleanly and in traditional modes that probably suit this once-scandalous story best. Paul Shortt's set, dominated by a huge suspended mirror that changes in aspect as Violetta's fortunes alter, creates the illusion of an opulence befitting the decade in which the opera was written (and the Academy built). Richard St. Clair's fine costumes and Boyd Ostroff's romantic lighting further this aesthetic.

Through Feb. 8, Opera Company of Philadelphia at the Academy of Music, Broad and Locust sts., 215-893-1999