Buenos Aires Lírica, the opera company in Argentina, offered at Teatro Avenida a sumptuous musical and orchestral version of Verdi’s “La Traviata” set in a modern but respectful setting of the plot.
Conductor Carlos Vieu directed in a brilliant way. He was always attentive to the style, the phrasing and the perfection with which he achieved a first-rate response from all the musicians and members of the orchestra.
Pablo Maritano translated the action to an undefined yet modern time, vaguely set somewhere around the 60’s in the last century. His acting movements were precise and adequate.
The excellent looking stages were conceived by Diego Siliano and the lighting by Gonzalo Córdova. Very few things and items were utilized on stage, and the scene was aided by projected images throughout the performance. The costume and outfits created by Sofia Di Nunzio had a luxurious and faultless appearance, and the choreography by Cecilia Elías was no more than correct.
In the lead role soprano Ivanna Speranza demonstrated that she possesses a “good school” vocalism, more suitable for the coloratura in the first act than for the dramatic parts in the rest of the opera. Her acting was fully convincing and her commitment to the character rounded a noteworthy stage delivery, to a role that maybe is not totally suited for her possibilities as an artist.
Argentine tenor Arnaldo Quiroga, who portrayed the role of Alfredo, demonstrated a fine vocal material, but a singing technique still “in construction” as well as sober acting skills.
Baritone Omar Carrión in the role of Giorgio Germont was a worthy model of Italian lyrical singing. He excelled in the phrasing, nuanced singing and intention.
The rest of the cast was rather irregular in their acting, and the Chorus, directed by Juan Casabellas managed to do a great job during the performance.
versione in lingua spagnola

Gustavo Gabriel Otero