Anna Netrebko's jazzy opening of Verdi's "La Traviata": Diamond tiara and sparkling performances

June 14, 8:51 PMSF Opera ExaminerCindy Warner

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Anna Netrebko makes a grand entrance as Violetta Valery in Verdi's "La Traviata"; Super Paul Ziller chauffeurs

Anna Netrebko live and in person at SFO, the legend motoring on stage and into the Paris jazz age like royalty.  Diva diamond tiara and chauffeur-driven classic car:  Violetta Valery, the toast of Paris, has arrived and so has Anna Netrebko.  Yet the glamor will be short lived for Verdi's Violetta as this will be la traviata, the travesty.   Anna on the other hand is married with a new baby.

It unfolds as the dying courtesan, after finally finding love and the strength to set her beloved free, lays dying alone after her private sacrifice.   She had once asked the question, why not just go from party to party, being self-indulgent, taking advantage of all life and men have to offer?  Sure, why not . . . She kicks off her shoes as she does inhibition.  With such abandon one shoe flies straight up into the chandelier.

I do take offense at what San Jose Mercury News reviewer Richard Scheinin refers to as the artificiality of opera.  He probably means this in the best way:

All the artificiality of opera — the very idea that people would ever sing about their lives — fell away.

Yes Netrebko can act but does one have to get holier than thou and condemn her art form?  If anything opera goes on ad nauseum about their lives.  Mozart and Verdi in particular focus on love between two humble individuals as Francesca Zambello can tell you.  She's currently directing Porgy & Bess.  Mozart even lets his heros and heroines live.  So do the Bel Canto composers, with La Sonnambula or La Cenerentola, which the Met broadcast live recently.

The courtesan's question would have made Oscar Wilde proud with his love that dares not speak it's name.  Yet Oscar was tortured by the double life, the double standard.  Tortured as in the Picture of Dorian Gray.  As in the notorious Salome, coming to SFO in October.  A biblical princess get rejected and demands the man's head on a platter and gets it.

Yet the jazz age is known for it's giddyness, it's high spirits and so is Paris in particular; Violetta sparkles in the City of Light.   Why would somebody feel sorry for herself?  It's more like a rationale with Violetta Valery.  Nothing to lose.  The young are immortal and know nothing of death, that's one definition of youth. 

So I disagree with SF music critic Josh Kosman's trivialization of the Paris jazz era setting into something innocuous.  Violetta would have to have been a nun like me, a wallflower or a social rebel to say no to the gaity of her world.  The setting intensifies the shocking but inevitable intervention by her lover's father, Giorgio Germont.   The father protecting his own daughter's future by protecting the family name is played aristocratically and with no nonsense but not intentional cruelty by Dwayne Croft.

Violetta unlike Dorian Gray remains young and beautiful but when she realizes she's dying, that's a universally sobering thought.  Yet she doesn't sell her soul to remain young and beautiful.  When one is at death's door, what does one really want?  Something one needs to do before dying, to love and be loved in return.  We all need somebody to go home to.  Even Oscar got out of prison.

After all, it is Violetta's last chance at love the cynical might say, she cannot keep up courtesanship when she's dying.   Her retirement is a practical matter.  Does her young lover know she's dying?  Is he with her out of kindness and self-sacrifice as well?  However.  He doesn't seem to know until he is summoned home from Europe to her deathbed.  That's why the father and society might see the arrangement as scandalous.  Why couldn't Violetta just say she was dying?  She didn't want to be a burden?

But Verdi makes a big point that she sells everything but her soul for those few precious months of love, supporting Alfredo at the French country house.   She doesn't want his pity.  He has his pride too, as we see in his rage after Violetta returns to her Baron and to Paris. 

So, if you react with your heart and not your cynicism, Anna's Violetta seemed the epitomy of self-sacrifice when she sets Alfredo free in the name of family honor.  It meant she would have nobody and nothing left, she would die alone.  This young woman deserves a medal or martyrdom not just a tiara.

The epitomy of purity and innocence and down to earth old fashioned integrity as angels spirited her soul away to Heaven in return.  Anna's Violetta has grown up and become a lady.  She faces off with patriarchy.

Consequently Anna was at her most beautiful when she collapsed delicately to the floor near her death bed, alone.  

The stage had been set  for Anna's signature bittersweet longing.  Yet being human she doesn't try to be strong; self sacrifice redefines strength.  It's not that British stiff upper lip.  Instead, the dying swan waits for her beloved to return begging foregiveness and giving her a reason to live.  Oddly enough, love is not enough and she dies.   But not in pain.  So just what is la traviata, the travesty?

Love is self sacrifice, love is redemption, love is the relief of suffering.  Love will set you free.

Anna's chauffeur talks:  Paul Ziller's super story

Some of us got to witness it up close and personal, on stage with Anna.  Here's a special feature by Paul Ziller, the young man serving as on-stage chauffeur to Anna's Violetta.

Paul emails:

I was THRILLED when I was contacted by Kristina Chang ("Super" Coordinator for the San Francisco Opera) that I had been cast as a "Super" in their upcoming production of Verdi's La Traviata. Since I'm an opera fanatic, and keep up on the singers "du jour", new productions, and innovative directors arriving each season, I knew immediately that meant I would likely be (humbly) sharing the stage with Anna Netrebko, seeing Donald Runnicles in the pit, and perhaps even receiving direction from Marta Domingo (Placido's wife), the director. Talk about a circle of operatic "greats"! What a dream.

I had been following Netrebko's career since her Merola days (1996), when I (and all of SF) immediately fell in love with her voice and stage demeanor. I'm thankful to have seen her on our stage since as Ilia (Idomeneo), Louisa (Betrothal in a Monastery), Adina (L'Elisir d'Amore), and in the title role of "The Tsar's Bride" (and in recital next door at the Herbst).

I was also very pleased to see that David Lefkowich was Assistant Director, as he had been the A.D. for "Appomattox" two years prior (my entry into Super-land), and was a pleasure to work with. And, the "PSC" was Charlie Lichtman, one of the true die-hards of the Super community ("family", really), and a very fun guy with great stories of operatic lore.

The wonderful surprise that was soon revealed was that I was to be Violetta's chauffeur. So, literally I would "drive" her (and her Baron) onstage for her first entrance. For the first piano rehearsal I attended, our Violetta was the wonderful Ailyn Pérez, another former Merolini (2005). She displayed stunning technique, as well as verismatic commitment to the rehearsal, offering the finest qualities of de los Angeles and Scotto.

I arrived for our piano dress rehearsal on June 4th. It was my first time in the costume, since the original fitting (Supers can only be cast in existing productions if they fit the costumes!). It's a fantastic costume, with Jodhpurs (flared pants, similar to riding pants), a very tailored jacket with multiple silver buttons, a formal cap with visor, and long leather boots...making for a unique body silhouette.

I went backstage (stage right) as soon as I was able, to get accustomed to the feel of the 1920's car I would be "driving" for the first time. I opened and closed the doors and got in and out a few times, as you can imagine the handles are VERY different from modern cars (the possibility of them sticking was lingering in the back of my mind). It's a beautiful black and white classic car...the real thing. I'm using the real brakes to stop the car, however, we are not running the engine, as it's rigged up on a pulley system (which 2 guys somehow manage to strong-arm across the stage). Although the car looks immense, it feels surprisingly small while getting in, and is more cramped than you would expect once inside.

I got in the car and sat down one last time to await our entrance. The flurry of stage hands and managers, like clockwork, was all around. I expected Ailyn to also do this rehearsal. I heard a rustling behind me, and could sense that it was Violetta (presumably Ailyn) getting in the car. I looked in the rear view mirror and whose face was it I saw...but Anna Netrebko's. I nearly swallowed my tongue. It was an out-of-body experience of sorts. Those now famous eyes were looking back at me (or, at least past me), and her beautiful rhinestone earrings and tiara shimmered with the light coming from the nearby stage lights. I felt like I was in an exotic fragrance commercial (I'm a graphic designer, so my mind can go there sometimes!). I really admired the intensity I could observe in her eyes, as she prepared for her entrance, clearly getting herself in character, and getting focused for one of the most demanding roles in the lyric soprano rep. She did a brief vocal run, to keep her voice warm or test it out, I imagine.

And, we were off...the timing of the entrance is key, and rather fast, as I have to get out of the car, open the door for the Baron (Dale Travis), walk around the back of the car, and open the door for Violetta just in time her first musical cue...whew! I have the pleasure of holding the door for her as she sings the first solo music in the opera. In her striking, layered white dress (also with rhinestones), Anna is the utter epitome of glamour...or, even when in plain clothes, for that matter. 

[Here's a photo of Dale Travis, the Baron, right]

The entrance and scene started without a hitch, and after about 5 minutes of stage time, which includes returning to the car, and being "flirted with" by female chorus members who pass by to admire the car and get as near to Violetta as they can, I "drove" the car off stage left.

Since that was my only "moment" in this production, I watched the remainder of the rehearsal from off-stage and from the orchestra seats. I couldn't wait to hear Anna's "Sempre Libera". She didn't disappoint. Her characteristic, gleaming high register shone through. I enjoyed seeing how playful she can be, when waiting for a production issue to be resolved, or for a scene to re-start. I was impressed by the way she really collaborated with the production team, and Marta Domingo, as she clearly has her own strong ideas about her character to bring to the table...the sign of a true artist! And, that's no surprise, since she undoubtedly knows Violetta very well, having performed the role in Salzburg, NY (Met), and at the Marinsky (and perhaps elsewhere too).

La Traviata's jazz quintet.  Note from Cindy the writer:  Vernon Felder and Sean O’Connor perform in SFO's  Porgy & Bess .  

Left to right  - Vernon Felder (Bass), Kenn Keitt (Saxophone/Clarinet), Quincy Boyd (Trumpet), Lloyd Thomas (Drums).  Seated is Sean O’Connor (Trombone/Bandleader).   Kenn Keitt sang in Appomattox.

We conclude our feature with final words from Paul Ziller:

Photos:  Cory Weaver and Terrence McCarthy, San Francisco Opera

Photos of Paul Ziller and of jazz quintet:  Charlie Lichtman

For more information:  www.SFOpera.com

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