To count as internationally significant, an opera company must be able to supercharge its lineup with star power.
That’s exactly what the Santa Fe Opera has done this summer. It not only brought back Natalie Dessay but persuaded the much-sought-after French soprano to make her first-ever appearance as Violetta in “La Traviata.”
In the opera world, this is big news. Even before this year’s summer season opened, all 11 performances of Giuseppe Verdi’s classic tragedy were sold out or virtually so. Critics were scrambling to book trips to New Mexico.
So expectations were running sky-high by the time opening night came July 3. And, put simply, Dessay came through, delivering a dazzling, star-worthy performance in every respect.
She possesses commanding technique, handling the role’s coloratura demands with seemingly effortless aplomb. Rather than mere flash and power, this effervescent singer works her magic with extraordinary vocal complexity, achieving an amazing range of emotional shadings with her pure, lilting voice.
Every bit as compelling as her singing is Dessay’s acting, with a take on Violetta that is both vulnerable and brash (Who could miss the fiery, red-orange hair?). She brings the role vividly to life with boundless energy and a kinetic physicality, scampering across the stage, kicking up her legs and burrowing herself in a swirling, fuchsia dress.
About that spectacular, eye-grabbing dress: Rarely does a costume directly influence a performance, but, in this case, it becomes a kind of prop, as Dessay uses it to help define her character.
This exquisite garment and the other evening gowns, which manage to be both elegant and risque, and the rest of the costumes — all designed by Laurent Pelly — are a tour de force, significantly enhancing the production.
Baritone Laurent Naouri (Dessay’s husband) is wonderful as Giorgio Germont, conveying the character’s solemn propriety and touching empathy for Violetta’s plight. The only letdown among the principal performers is tenor Saimir Pirgu, who fails to deliver the necessary passion and fervor as Alfredo, Violetta’s jealous lover.
Conductor Frederic Chaslin capably backs the singers, delivering a strong performance from the pit.
“La Traviata” was staged by Pelly, a French director responsible for three previous Santa Fe productions — all unqualified successes. But this one raises questions, especially because of the scenery.
In a brilliant, original stroke, Pelly opens the production with a view of Violetta’s burial, her black- clad friends shuffling through the cemetery in the rain. This foreshadowing focuses the story and gives it immediate poignancy, which lasts throughout the opera.
Designer Chantal Thomas’ abstract set, which consists largely of pedestal-like boxes spread across a sloped stage, perfectly evokes the stone markers in French cemeteries. It also works well in the ballroom scenes when Pelly, a master choreographer, sends the crowd cascading over it.
But for much of the rest of the production, there is a sense that Pelly had to overcome the set, rather than draw inspiration from it.
An intoxicating “Elixir”
If “La Traviata” was centered on one remarkable performer, Santa Fe’s production of Gaetano Donizetti’s “The Elixir of Love (L’elisir d’amore)” draws its strength from an almost perfectly matched ensemble cast and energetic conducting by Corrado Rovaris.
English director Stephen Lawless, making his Santa Fe debut (expect to see him back), found the heart and soul of this ever-popular comic love story, delivering a smart, fast- paced staging with one clever touch after another.
Although composed in 1832 and originally set in that period, this opera is easily adaptable to other times. Lawless has shifted the action to just after World War II, turning Nemorino into a grease- smudged car mechanic — probably an operatic first.
Significantly bolstering the director’s efforts is a charming, vernacular set, complete with a realistic billboard (with changing signs that relate to the evolving plot) and an MG Midget convertible that becomes a major pole of action.
The casting is a celebration, or perhaps a validation, of Santa Fe’s fine training program. Four of the five principals — all with major careers — are former company apprentices, and soprano Rachel Schutz, who shines as Giannetta, is a current one.
Tenor Dmitri Pittas is a natural as Nemorino, winningly investing the good-natured yet hapless fellow with humanity. An expressive if not flashy singer, he handles the role’s many vocal challenges with unwavering skill.
Soprano Jennifer Black, a strong all-around singer with a big, lustrous sound and stage presence to match, ably conveyed both Adina’s flirtatious and doubt-tinged tender sides.
Patrick Carfizzi, a master comedian with a powerful, flexible baritone, could hardly be more convincing as the self-involved army sergeant who pursues Adina with deliciously clumsy attempts at being a Casanova.
Rounding out the cast is a delightful performance by bass-baritone Thomas Hammons as Dr. Dulcamara, who comes off as a cross between Rodney Dangerfield and Walter Matthau.
Kyle MacMillan: 303-954-1675 or kmacmillan@denverpost.com
Colorado’s contingent of fans
Coloradans are big fans of the Santa Fe Opera. The second largest group of attendees outside of the company’s home state of New Mexico comes from Colorado.
So far this summer, 1,300 Coloradans — about 8.5 percent of total ticket buyers — have purchased more than 10,000 tickets. That compares with 47 percent from New Mexico and 9.4 percent from California. Kyle MacMillan
Santa Fe Opera
Opera. Seven miles north of Santa Fe on U.S. 8 4/285. The company’s summer season consists of five productions: “La Traviata,” through Aug. 29; “The Elixir of Love,” through Aug. 28; “Don Giovanni,” Saturday through Aug. 27, “The Letter,” July 25 through Aug. 18, and “Alceste,” Aug. 1 through Aug. 19. $26-$188. 800-280-4654 or santafeopera.org
