On a captivating evening that combined love’s celebration with the beauty of opera, the Opéra de Paris presented Giuseppe Verdi’s “La Traviata” on February 14th, 2024, marking both a highlight of the season and a fitting tribute to the day dedicated to love. This co-production with the Wiener Staatsoper distinguished itself through a meticulously Parisian mise-en-scène and a vivid realization of Verdi’s timeless narrative in a contemporary setting.

Violetta as a Social Media Influencer

The production directed by Simon Stone introduced a modern twist to Verdi’s classic by casting Violetta as a social media influencer. In this contemporary version, Violetta is seen taking selfies and frequently engaging with her smartphone. She also sends texts using WhatsApp, which are projected onto the stage, offering a contemporary interpretation of the libretto. This adaptation brings Violetta’s character closer to today’s audience, portraying her through the lens of social media and digital communication. This modern interpretation resonates with the essence of Alexandre Dumas fils’ novel “La Dame aux Camélias,” drawing inspiration from his own love affair with the courtesan Marie Duplessis, and emphasizing themes of societal facade and authentic love. Stone’s vision presents a fresh yet faithful adaptation, reflecting Verdi’s critique of superficial society while ultimately celebrating Violetta’s quest for freedom (“Sempre libera”). This rendition of “La Traviata,” revisited since its 2019 debut, blends Verdi’s musical genius with a modern reality that questions our values in a digitally obsessed era.

The opera unfolded with an engaging accessibility, its nearly three-hour duration passing with an ease that belied the complexity of its composition. The strategic timing of “La Traviata’s” presentation within the opera season—amidst the carnival period—further enhanced its cultural and thematic resonance. The audience was drawn deeper into the narrative’s setting, particularly during the lively “Di Madride noi siam mattadori,” which vividly captured the spirit of carnival festivities through music.

Voices & Music of “La Traviata:” A Cast Overview

Nadine Sierra’s French debut as Violetta, alongside René Barbera as Alfredo and Ludovic Tézier as Giorgio Germont, held its promise of an exceptional vocal performance. From act to act, scene to scene, and aria to aria, the voice of Sierra captivated the audience, capturing Verdi’s tragic heroine beautifully. Sierra’s portrayal of Violetta was a blend of vulnerability and strength, showcasing her extensive vocal range and depth. Her control over her voice allowed her to navigate the demanding nuances of the role, from the joy of the Brindisi “Libiamo ne’ lieti calici” to the despairing sorrow in “Addio del passato.” Sierra’s performance went beyond singing. She was truly an actress onstage. You could see real emotions in her gaze and hear them in her voice, bringing Violetta’s character to life with remarkable authenticity. Her voice shined brightest not just in her solo moments but also in the duets with Alfredo.

René Barbera took on the role of Alfredo with a compelling mix of ardor and innocence. His tenor voice, rich in texture, perfectly conveyed Alfredo’s passionate love and anguish. Barbera’s performance of “De’ miei bollenti spiriti” highlighted his lyrical capabilities and emotional expressiveness, drawing the audience into Alfredo’s hopeful yet doomed love story. The chemistry between Barbera and Sierra added a tangible intensity to their duets, notably in “Parigi, o cara,” where their harmonious blend captured the tragic beauty of their characters’ relationship. 

Ludovic Tézier played Alfredo’s father, Giorgio Germont, with a strong presence. His deep baritone voice showed Germont’s change from a strict father to a more understanding one. His performance of “Di Provenza il mar, il suol” really stood out, showing Germont’s regret and love for his son. However, there were times when his performance could have shown more emotion, especially in key scenes with Violetta. Their duet was tense, yet Tézier’s performance seemed somewhat overshadowed by Sierra’s powerful voice, suggesting that there was potential for a deeper emotional connection similar to the one achieved with Barbera. Overall, his contribution significantly enhanced the opera. However, showing stronger emotions would have made his performance even better.

Under the skilled baton of Giacomo Sagripanti, this rendition of “La Traviata” at the Bastille Garnier was given a particularly thoughtful treatment, bringing to the forefront the complex interplay between its characters.  The performance also made some nuanced decisions, especially with the orchestra’s volume being deliberately softer at times. In moments where Verdi’s composition called for a more robust and full-bodied orchestral presence, the performance leaned towards restraint. This, however, did little to detract from the overall work of Sagripanti, which succeeded in making the opera accessible for the audience.

Paris: A Parallel Character in “La Traviata”

In Stone’s production, Paris becomes a character as complex as Violetta and Alfredo, showcasing its beauty and elegance alongside its darker, grittier sides, such as the noisy, dirty streets symbolized by the recognizable Parisian trash cans on stage. This approach draws on the 19th-century tradition of depicting Paris as a living, breathing city, adding a layer of realism to the opera. Through this portrayal, Paris is not just a setting but a dynamic presence that enhances the narrative, making the city’s dual nature an integral part of the drama.  

It is within the character of Violetta that Paris finds its true resonance. Like Violetta, the influencer, Paris reveals a dual nature: it is the City of Light, yet it also possesses its darker sides. Violetta, superficial in appearance, mirrors the city’s facade: beautiful on the surface but yearning for freedom and battling beneath. This parallel draws a poignant comparison between the individual’s internal struggle and the city’s external contrasts, highlighting the complexities of both the character and the urban landscape she navigates. Violetta and Paris intertwined, each reflecting the other’s beauty and darkness, superficiality and depth.

The dynamic staging of “La Traviata” employed mobile scenes that transitioned seamlessly. It was a heartfelt homage to Paris, with elements ranging from the equestrian statue of Joan of Arc in the Place des Pyramides to a Renault car and a Parisian bench. This approach, while visually engaging, highlighted a minor critique, which was the exclusive use of French text without translations in the projected WhatsApp exchanges. This omission potentially distanced non-Francophone audience members from the modern interpretation.

The director’s choice to align the staging with Verdi’s original vision—initially challenged by authorities at La Fenice that insisted that “La Traviata” be set in the past, ‘c. 1700’—was proven right in a performance that felt both modern and true to the opera’s roots. The standing ovation that followed was a testament to the production’s success in capturing the essence of Verdi’s masterpiece. This “La Traviata” at Bastille was not just a performance but an experience: a modern presentation of love, Paris, and the enduring human spirit. A representation that stands as a testament to the power of opera to convey universal yet contemporary truths across ages.