La Traviata

What better way to celebrate its 75th anniversary than for Central City Opera to present the classic, La Traviata? Director Justin Way's uncluttered production clarifies why this Verdi masterpiece endures: the dynamics between the three main characters are simple, yet powerful; the arias provide plenty of opportunities for vocal derring-do; the melodies are sublime; and there are three distinct catharses—something rare even in the greatest tragedies.

When the opera debuted in Venice in 1853, hypocrites were scandalized by story and setting (based on a book and a play by Alexandre Dumas, fils), which features a courtesan, Violetta Valery, as the heroine. Verdi's moral challenge remains just as valid today, while we suffer the same ilk of unelected criminals posing as defenders of democracy and Christian virtue.

Jennifer Casey Cabot as Violetta Photo: Cory Weaver

Violetta wisely resists emotional entanglements with her ruling-class benefactors, preferring instead to put her faith in life's pleasures, which have taken a toll on her health. However, the ardor of handsome and passionate Alfredo Germont opens her to love.

Jennifer Casey Cabot wins our hearts as the delicate beauty with the heart of gold and voice of an angel. Her dazzling coloratura, effortless dynamics, and refined emotional shadings paint a Violetta worthy of the character's acknowledged artistic immortality.

Jennifer Casey Cabot as Violetta and Chad Shelton as Alfredo Photo: Cory Weaver

Chad Shelton's Alfredo woos with verve, luxuriating in the melodious Italian phrasing, leaving no doubt that he means to get the girl.

Grant Youngblood as Germont and Jennifer Casey Cabot as Violetta Photo: Cory Weaver

Grant Youngblood delights us with his stirring baritone and by avoiding the shopworn evil characterization of Giorgio Germant, instead drawing sympathy as a concerned, if insensitive, father—his turnabout all the more poignant.

Ensemble—Bonfils-Stanton Foundation Artists Training Program Photo: Cory Weaver

The chorus, members of the Bonfils-Stanton Foundation Artists Training Program, have a rollicking good time with the party scenes and the drinking songs, providing a festive backdrop to the proceedings.

Conductor Martin André's faithfulness to Verdi's multi-colored score is a delight. The only inconsistency in the production is in the sets, with the party scenes lavish and garish as called for, the country estate disappointingly bland, and the death-bed uninspired.

Central City Opera's production of Guiseppe Verdi's La Traviata runs in repertory with the world premiere of Guo Wenjing's Poet Li Bai, Jules Massenet's Cinderella, and Gian Carlo Menotti's The Saint of Bleeker Street, through August 16th. 303-292-6700, 1-800-851-8175, or www.CentralCityOpera.org.

Bob Bows