THE spectre of death looms large, but subtly, over David McVicar's new deep-veined production of Verdi's La Traviata for Scottish opera. The heavy, luscious black drapes of Tanya McCallin's designs cast deliciously ambivalent tones of opulence and gr
avitas.
The prevailing presence of Violetta's tombstone epitaph, etched large across the marble floor, combined with sensually-charged characters right out of French impressionist paintings, imbue McVicar's creation with a grippingly human touch.
This is set at the right end of the 19th century, where decadence and honour meet in heady conflict, something Verdi would have approved of given the volcanic tremors of his atmospheric score.
The issue then is finding a cast that can combine the intense vocal demands of the roles, together with a level of dramatic conviction sufficient to do McVicar (and Verdi) justice.
In Carmen Giannattasio, Scottish Opera has probably found a startling Violetta. Her opening on Thursday was nervous, possibly in answer to Federico Lepre's uncomfortably lightweight Alfredo, which itself struggled to keep in tune in Act 1.
But the transformation in Act 2, where Violetta encounters the imperial Germont, was astonishing, spurred on no doubt by the inspirational solidity of Richard Zeller. Their partnership is one of the most thrilling moments in this stimulating production, from which point Giannattasio's performance rockets in stature to its tragic apotheosis.
But there is levity, too, in the later party scene with the flirtatious choreography of the gypsies and matador, and a momentary shot of colour that brightens the day.
Conductor Emmanuel Joel-Hornak's presence in the pit draws flavoursome playing from the Scottish Opera Orchestra, and a sense of underpinning that is provocative and illuminating.
So finally Scottish Opera has given us a production this season that hits just about all the buttons. A few performances to bed in and it most definitely has a hit.
