Review: Pittsburgh Opera's 'La traviata' is a party and everyone is invited

Dancing. Drinking. Drama. Matadors. Pittsburgh Opera’s production of “La traviata,” which opened Saturday night at the Benedum Center, has something for everyone to enjoy.

Composed by Giuseppe Verdi, “La traviata,” which translates in English into “The Fallen Woman,” premiered in 1853 and is one of the world’s most popular operas. It has a three-act structure and is sung in Italian (with surtitles, of course).

It tells the story of Violetta, a courtesan in 1850s France. In the first act, she throws a party, where she meets young nobleman Alfredo. He professes his undying love to her, and though she hesitates at first, wishing to pursue a life of parties and pleasure, she ultimately accepts his advances. In the following two acts, the tragic lovers must face the hurdles of social pressure, betrayal and illness. The opera is filled with beautiful music, amazing voices and sets that bring the audience straight into the 19th century.

Throughout this tragic love story, the audience gets a peek into the revelry of French society, full of drinking, dancing, gambling and dueling. Sumptuous sets and glittering gowns make the scenes even more lively, bringing the party spirit into the theater.

The star of the show is Violetta, played in this production by Vuvu Mpofu. She must convey emotions ranging from flirtatious to joyful to devastated, throughout the song. The story rests on her shoulders, and Mpofu carries it handily, with her stunning soprano voice ranging from soft and sweet to soaring in a matter of seconds. Her mannerisms and facial expressions also add another dimension to her performance, making her a joy to listen to and watch throughout.

Duke Kim, who plays Alfredo, the other half of the lead duo of lovers, has a powerful voice that fills the theater. His love, sorrow and especially anger are palpable. Especially in the third act, every note feels piercing. Such dramatic emotions, even in the exaggerated context of opera, are difficult to make real, but Kim succeeds with his performance.

The supporting cast all get their own laughs and gasps from the crowd, especially the forceful baritone Michael Chioldi, who plays Alfredo’s father, Giorgio Germont. He appears in the second act to beg Violetta to leave Alfredo, and it’s hard not to find his arguments convincing when they are sung with such fervor.

“La traviata” hits its highest highs during the scenes when the ensemble gathers for parties. Watching each of the individual revelers is a treat of its own, especially during the second act masked ball. This is also in large part due to the delightful costumes, designed by Glenn Avery Breed. The gowns are particularly eye-catching, but every outfit feels authentic.

The set design, by Peter Dean Beck, is impressive, transforming the stage into luxurious rooms filled with immersive details. Lighting designer Marcus Dilliard has a hand in setting every mood, from bright and celebratory to shadowy and sullen.

There would be no opera without music, and the musicians bring the drama to the next level. The orchestra is bombastic during the highest-stakes points in the plot and complements the performers onstage throughout, thanks to conductor Antony Walker. The score of “La traviata” contains some famous musical pieces, even to those unfamiliar with opera, and they are played beautifully.

Even for theater lovers, opera can sometimes be a challenge. Watching melodrama play out in another language isn’t everyone’s cup of tea. But this production is a good place to start for anyone interested in giving it a shot. The plot is straightforward and engaging, the music is enjoyable from start to finish and the cast is enchanting. Anyone could fall in love with “La traviata.”

Pittsburgh Opera’s “La traviata” will run through March 24 at the Benedum Center in downtown Pittsburgh. For tickets or additional information, visit pittsburghopera.org.