Utah Opera's La Traviata

I was thrilled to be at Capitol Theatre last night for Utah Opera's production of La Traviata by Giuseppe Verdi because it is one of my favorite operas (I always prefer the tragedies). It was magnificent and I loved everything about it!  Violetta (Lydia Katarina) is a beautiful and glamorous courtesan who lives only for pleasure.  Even though she is suffering from consumption, her patron, Baron Douphol (Christopher Clayton), hosts a lavish party for her and she encourages her guests to sing a wild drinking song.  When she grows too tired to dance, a young man named Alfredo (Isaac Hurtado) approaches her and declares his love.  She resists him because she likes her simple life of pleasure but, when he leaves, she realizes that she is in love with him.  They live happily together in the country until Alfredo's father Germont (Weston Hurt) comes to ask Violetta to end the affair because their relationship is scandalizing the family and ruining his daughter's prospects for marriage.  Violetta tearfully agrees and returns to Paris leaving Alfredo heartbroken.  She attends a masquerade ball hosted by her friend Flora (Julia Holoman) with the Baron but, when Alfredo see her with him, he treats her with such contempt that his father reveals the truth.  Alfredo eventually begs Violetta to forgive him and she dies in his arms.  The music in this opera is very well known and the three leads performed my favorite arias beautifully.  Katarina is thrilling in her passionate performance of "Sempre Libera" as she questions whether her love for Alfredo is worth giving up her life of freedom and incredibly moving in "Addio, del passato bei sogni ridenti" as she contemplates her death.  She also gave me goosebumps with her emotional outburst begging Alfredo to love her ("Amami, Alfredo").  Hurtado did not disappoint with his stirring rendition of the famous Brindisi ("Libiamo ne'lieti calici") but his captivating performance of the aria "De'miei bollenti spiriti" as Alfredo sings of his life with Violetta is especially swoon-worthy.  Other highlights included Hurt's performance of "Pura siccome un angelo" as he begs Violetta to think of his family because it is very genuine and deeply felt and when the Chorus denounces Alfredo for his treatment of Violetta in "Di donne ignobile insultatore, di qua allontanati, ne desti orror!" because it so dramatic.  This production also features six dancers (Maeve Friedman, Emily Marsh, Ruger Memmott, Madeline Nelson, Tyler Schnese, and Brandin Steffensen) who perform a waltz at Violetta's party and Spanish dances at Flora's masquerade ball but I was particularly struck by the reprise of the opening waltz at Violetta's deathbed because the dreamlike sequence symbolizes everything that she has sacrificed for love (I have never seen this done before and it was definitely another goosebump moment).  As always, the sets and costumes are striking (I loved the opulent ballroom and Violetta's dramatic red gown).  I find tragic operas to be very cathartic and this production left me breathless!  I highly recommend getting a ticket (go here) because, even if you are not an opera aficionado, you will probably recognize a lot of the music! It runs at Capitol Theatre through May 17.