La Traviata at the Palace of Congresses
“La Traviata” this Verdi s masterpiece, probably the most performed work by all the theaters of the world, was put on stage in our country a few days ago. I could only attend the last evening show at the Palace of Congresses with the protagonists Violeta Valery – Nina Muho, Alfredo Germont – Nestor Losan, Giorgio Germont – Matic Dragutin, Baron Douphol – Aurel Thulim Flora Bervoix – Shpresa Beka, Annina – Ina Gaqi. I think that the previous evenings may have been even better but let stop over some issues.
We are living at the era of the advertisement where we use to wear t-shirts to say something and not just to be clothed, but the commercial breaks before the opera to me are unacceptable. The audience comes and while having a seat start to enter into the artistic atmosphere that is indispensable to convey an opera.
The history tells us that once the aristocratic started talking and storytelling before the show, but for sure we over passed that stage. Wouldn’t it be better a booklet where the opera subject was, no matter how familiar it is to us? Wouldn’t it be better to present all the cast and the soloists so the advertising was done in silence?
The first scene is wonderful of impressive and creative effects on the big screen, with interesting, minimalistic, scenography. The wonderful overture of Verdi is not just an introduction but a summary of the whole work. Enada and Gerti dancing tell us the entire story. But if Verdi’s overture begins with sad, the choreographic language of the famous couple speaks more about love. It’s a change, a crash, a little dissonance unacceptable for a sensitive and used to the music audience. Perhaps the choreographer did not understand this, but if so why didn’t the artistic leader explain it to the soloists? Here she is Violeta on the bed. A new one. “Fresh and confident,” said a someone next to me in Italian. He was right. The soprano Nina Muho first debuted after the soloist had been ill. Even she had done no rehearsals. ” This evening she was fighting for life and death and she won,” said our great conductor, Ermir Krantja, after the show. What an honor to our theater honor whenever he comes back and conduct. I followed closely all Nina’s performance. She painted a true, real, and even very expressive Violeta. She handled every moment of the opera with a talent force that aroused only admiration. Long, beautiful, charming, with beautiful timbre and powerful voice, with enough diapason, a true Violet and when you think this was her first debut, on the stage of an opera, maybe after years she debuted in the stage of the school, in the opera class, we should say: Where was this singer during these years? And I know she’s not the only one!
Alfredo, of not such an entertaining timbre, with a small voice. I do not know where we find these singers while we have so young people out there that they do not give a role to sing in the opera. Exactly the main character – Violeta opens the curtain on the bed and she ends the show on the same bed. This is Duma’s story. So is how did Verdi imagine. But there is a small change here. If for Duma (Alexandre Dumas – son) Violeta, or Margarita in the novel “Lady with Camellia” was a courtesan of the Parisian Verdi I do not think treated her as such or did not emphasize anything that was about the prostitute. The bed in the middle of the scene not only shows poverty but it is not in the essence of Verdi’s opera, or makes dirty what Verdi divinized with his music to pen as stunning, as moral work. Cured in every detail as a living picture of Rafaelo or Michelangelo
Our show at the Congress Palace seemed like that bed of sin was the center of all the Verdi Operatic drama. Verdi’s Traviata is an opera that enters in the social-themed works and Violeta is the main role that the author carries with positive feelings and qualities despite the conditions of life. The most unacceptable to me was that on that bad where the whole event was taking place. There they used to play poker, there was where the singers were jumping on to look better and in the end we even saw that two Violeta entered that bed: one in Violeta’s dreaming, dancing with her boyfriend and a real one, not moving, being sick. I think this was a dilettante solution. Would not it be better to learn from other staging large ideas?
I do not understand why they do not ask the artist who sang this role dozens of times, who lives in Tirana – Inva Mula?. Why she does not get closer to our Opera Theater? It also remains unclear why some of the cultured and experienced exponents of opera director remain in the shadows?
However this year Traviata was a success. We are a small, poor unused to manage resources and generally without culture. This seems to be in the laziness of the audience to applaud.
Nor is it thought that after the show it can and should be done any discussion, where everyone’s ideas could be thought: Well it seems rather communist today.