UTAH OPERA, La Traviata, Capitol Theatre, Jan. 18; through Jan. 26, tickets at 801-355-2787, 888-451-2787 or www.utahopera.org
It’s a visual delight seeing an opera staged with lavish sets and costumes, but at the end of the day it’s the singing that really matters.
Utah Opera’s revival of its 2006 staging of Verdi’s La Traviata has it all — gorgeous costumes, beautiful sets and exceptional singers.
La Traviata demands vocal excellence from the singers portraying Violetta, Alfredo and Giorgio Germont — and this production certainly delivers.
Sara Gartland (Photo: Courtesy Utah Opera)
Leading off the cast is young soprano Sara Gartland, making her debut as the celebrated courtesan Violetta. She has the vocal and acting chops to bring conviction to her role. Her voice had warmth and richness in the middle register. She wasn’t in possession of her high register until the second act. But once she had control, she was fabulous.
As an actress, Gartland brought definition to her character. And there was genuine chemistry between her and tenor Cody Austin as her lover Alfredo. Their duets were among the highlights of opening night.
Austin, another young and very promising singer, also portrayed his role convincingly. He is a wonderful actor and as a singer he had the range, power and, above all, the expressiveness to make the role work.
However, stealing the show is baritone James Westman as Alfredo’s father, Giorgio Germont. Watching him transition from the stern parent who only wants the best for his son, no matter at what cost, to the compassionate man who can admit his mistake and who embraces Violetta as his own is memorable. Westman invested his portrayal with expressive and emotional depth. It was honest and sincere.
Westman is an equally wonderful singer; he has a rich, resonant voice and he sang Saturday night with finely crafted lyricism and expression. His Act II duet with Violetta was a standout.
Among the smaller roles, baritone Kevin Nakatani did a credible job as Doctor Grenvil.
The Utah Opera Chorus, under its new chorus master Caleb Harris, did a wonderful job as one would expect from this seasoned ensemble. And the members of the Utah Symphony played well under conductor Robert Tweten. However, it appeared as if it was an especially small group since the sound was rather thin. There would be more depth and definition with the addition of a few extra strings.