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TRAVIATA PRODUCTION THRILLS ARBOR OPERA'S AUDIENCES

Arbor Opera Theater presented four performances of Verdi's La Traviata at the Lydia Mendelssohn Theatre in Ann Arbor on June 14, 15, l6 and l7. I attended the Saturday evening, June l6 performance. According to its president and artistic director, Shawn McDonald, these full length opera productions are meant to "inspire enthusiasm for opera and to nurture developing artists who need professional performing experience." � As a means of providing performing experience to aspiring artists, it's got to be one of the best in the country. The sets and costumes were good, the orchestra very fine, the staging effective and tasteful, for the most part, and, to my happy surprise, there were even overhead supertitles! Bravo Arbor Opera Theater!

The Saturday night performance we heard featured the opening night cast, with Violetta Valery sung by Karin White who is a veteran performer with Arbor Opera and with other theatres in the United States. I have heard her over a few years in various roles, and my impression is that she is now ready for the better regional opera theatres in the country. She has a splendid, radiant top, which is always dependable. Despite the occasional slight imperfections in the first act, her brilliant high C's, topped with a secure high E flat brought a very enthusiastic response from her audience. Ms. White has significant gifts as a singer. Her second act performance was particularly impressive, vocally and interpretatively. We experienced the nuances of Violetta's plight, and her beautifully well-controlled vocal line gave us an experience of some of Verdi's greatest moments.

Quinto Milito's big-voiced Germont was astounding, if not always beautifully nuanced.He carried the role of Alfredo's father with dignity, energy and stentorian prowess.

Shawn McDonald was a gentle and sympathetic Alfredo, singing well, and sometimes very beautifully. One had the feeling, however, he was treading carefully through his role on this evening. After his demanding "remorse" aria in the second act (which is often cut), one had the impression he was no longer able to sustain his role with full voice. Nonetheless, he gave a sensitive rendition of his part, and the "Parigi, o cara"� duet (which needs to be sung softly for the most part to be convincing) was beautifully performed by both himself and Karin White. It was one of the highlights of the evening.

With the means available, one must say the third act gypsy dance and singing segment of "Noi siamo zingarelle" (We are gypsies) was charming and effective; and the idea of giving what should be a dance scene to one singer as a vocal solo, instead of to a chorus of men, was a stroke of imaginative genius. Nick Fitzer as the Gastone, who became the "toreador"� sang and acted out this scene quite charmingly and his mock killing of the five bulls was amusingly convincing and succeeded in winning him his delightful lady

Diane McEwen-Martin as Flora, a courtesan and a friend of Violetta's, sang her part well, as did Jody Doktor in the role of Annina, the faithful maid and companion who sees her beloved mistress through to her sad end.

The Ann Arbor Cantata provided the choral work in this performance and did a fine job, indeed. There was life and sincerity to their singing and performing, as was the case with all the smaller roles, as well.

Although I felt the first act prelude was a bit too slow, conductor Warren Puffer Jones kept a good pace and command throughout the rest of the opera; the orchestra played very well and the use of a good pianist (Nancy Hodge Alexius) for the off-stage orchestral effects, was another excellent idea which worked.

This Traviata produced the first blonde Violetta I have ever seen (and I've seen quite a number), but, oh well, I suppose there must be a few blondes in France, so why not?

All in all, this was a very fine and lively performance of La Traviata by Arbor Opera Theater, and one which enabled us to experience the beauty of Verdi's score and even be moved by it.

It was well worth the very reasonable entrance fee and is certainly one of the best operatic bargains in town! We eagerly look forward to next year's AOT production at Mendelssohn Theatre.

Dina Soresi Winter