South Florida Classical Review

For sheer spectacle, few productions at Palm Beach Opera have equaled this week’s staging of Verdi’s La Traviata.

The interiors of great 19th century Parisian houses came to life with elaborate chandeliers, oil paintings and tapestries – scenes of musty grandeur inhabited by women in gowns and men in white tie and tails. The sets, from Lyric Opera of Chicago, served as backdrop for an effective performance of Verdi’s tragedy Friday night at the Kravis Center. 

With her intense, powerful voice, the soprano Gabriella Reyes made a compelling Violetta, the Parisian courtesan at the center of the drama. In her first act aria “Sempre libera,” her effortless coloratura, with its brilliant high notes and rapid scales, portrayed Violetta’s vivacious character with a touch of vulnerability. In her passionate Act II outburst, when she asks Alfredo to love her as much as she loves him, she brought intensity and plush vocalism to one of the most impassioned moments of the opera.

Yet Reyes could also rein in her voice to express the turmoil, sadness and resignation of a woman suffering from consumption and buffeted by emotional blows. As she accepted the necessity of ending their relationship, she produced sorrowful high notes over minor-key harmonies in the orchestra.

In the gambling scene, as her two rivals confront each other, she arched poignant sobs of distress over the male battle taking place at the gaming table. And in her last-act aria “Addio, del passato,” Reyes brought smooth, liquid tones to the bleak words with which Violetta accepted her lonely impending death.

As Alfredo, the tenor Mario Chang couldn’t match the power of Reyes’ voice but brought his own strengths to the role. In their first-act duet, “Un dì, felice, eterea,” she overshadowed him, as she would throughout their interactions.

His voice seemed to bloom later in the evening, as he delivered an ardent and lyric “De’ miei bollenti spiriti … Il giovanile ardore,” expressing his love for Violetta. He was at his best in moments of high passion, unleashing furious high notes in his fight with Violetta and his confrontation with Baron Douphol, his romantic rival.

The role of Alfredo’s father Giorgio Germont was expertly handled by the baritone Michael Chioldi, a Palm Beach Opera favorite whose past roles have included Falstaff, Scarpia, Rigoletto, Macbeth and Sharpless. With his performance Friday night, Chioldi had appeared in his tenth Palm Beach Opera production, tying the company’s record, according to the company’s general director, James Barbato, in a pre-concert welcome.

Despite an antique sense of moral propriety, the figure of Giorgio Germont is a more appealing and compelling character than his son. With his walking stick and long dark coat, Chioldi exuded patriarchal authority as he approached Violetta to ask her to dump Alfredo so his daughter’s marriage prospects wouldn’t be ruined by a family connection to a notorious Parisian courtesan.

In his long duet with Violetta, both singers gave fine performances that did justice to what feels like the emotional heart of the opera, with much more impact than Violetta’s flirting and fighting with Alfredo. His voice warmed as he exuded compassion for her, with his cries of “Piangi, piangi” (Weep, weep), resounding as he tried to comfort her for her sacrifice. His “Di Provenza il mar” was smoothly sung yet full of earthy, fatherly personality.

His daughter has no role in the opera, existing only in the words of Germont. But in an interesting directorial choice, the girl appeared on stage in this production in a silent role, sitting next to her father and leaning on his shoulder as he pleaded his case to Violetta—an unnecessary and overly literal distraction from director Omer Ben Seadia, but one that did little to detract from the scene’s power. The scene took place in another showstopper set portraying Violetta’s country house with elaborate aqua gates and lattices laced with vines.

The orchestra under music director David Stern delivered its usual excellent performance. The violins, in particular, played with transparent accuracy and grace in high passages such as the delicate opening Prelude that could expose intonation problems in less skilled musicians. In passages of classic Verdi drama, such as the gambling scene, the orchestra’s playing crackled with tense energy.

Director Seadia unfolded the action with authenticity in this realistic, down-to-earth opera. Scenes between Violetta, her lover Alfredo and Alfredo’s father had an unusual intimacy despite the huge hall. Party guests acted with an easy informality and seemed to be having a good time compared to the forced and stylized high spirits characteristic of many operatic party scenes.

The chorus did an effective job with its important role, singing with crisp precision as the party guests call it a night and with dramatic power as they denounced Alfredo’s humiliation of Violetta.

The smaller roles were effectively handled. Alexis Seminario expressed devotion and concern as Violetta’s maid Annina. Bernardo Madeiros made a stiff and villainous Baron Douphol in mutton chops and black cape. Dylan Gregg exuded compassion in the last scene as Dr. Grenvil.

Palm Beach Opera will repeat La Traviata 7:30 p.m. Saturday and 2 p.m. Sunday at the Kravis Center in West Palm Beach. On Saturday the starring roles will be sung by Amanda Woodbury and Yongzhao Yu. pbopera.org

Posted in Performances

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4 Responses to “Palm Beach Opera serves up impassioned singing, sumptuous visuals with “Traviata””

1. Posted Feb 22, 2025 at 12:38 pm by William Keach

   Gabriella Reyes is the most moving and glorious soprano we’ve heard in years. From her first appearance in 2018, it was clear that she’d not only become a major star but also an individual with the power to inspire a company. Congratulations to the Palm Beach Opera on casting her in La Traviata!

2. Posted Feb 22, 2025 at 7:36 pm by Debra Kramer

   Thoroughly pleased to hear a favorite opera once again. Thank you 🙏 so much for this production.

3. Posted Feb 23, 2025 at 6:18 pm by Elizabeth

   So wonderfull 💓👏

4. Posted Feb 26, 2025 at 9:13 am by Jeffrey Klein

   My guest and I attended the Saturday evening performance, which the above critique captured so accurately that I felt I was reliving the ethereal performance we enjoyed. Bravo to all who produced, directed, and performed this amazing story!

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