If we have to choose a single romantic opera, we can have many doubts, but if we mention La Traviata de Verdi, we will not fail. Inspired by the work Camelien dame de Alexandre Dumas, this brilliant work has everything to emote and bring to light the feelings: true but impossible love, misfortune, destiny… It has all the ingredients of the 19th century novels to be the favorite opera of the public.

From a musical point of view, this work offers the best of Verdi. The music and the libretto merge. We can say that the music of this opera is a kind of programmatic music, because the melody itself describes the different feelings that appear throughout this play.

As for the interpretation, I got a good impression. And it was a surprise to me. In recent years groups of orchestras and singers from Russia who travel all over the world, performing this kind of classic montages, are generally of low quality. In this case, the Orchestra, Choir and Soloists of the Russian State Rostov brought a completely classical, well-directed and clearly interpreted production.

As we said, we saw a hyper-classical, careful staging. On the other hand, singers moved well on the table, although at some times there were errors of consideration. For example, Violetta, when she was dying, sang behind her back to the public and, as a result, her aria (grief) was heard without details.

Soprano Elena Zolova felt Violetta. The Addio del passato of the third edition, among others, came to us very exciting. Tenor Victor Mendelev also had brilliant moments, as in spiriti De miei bollenti. But the one who carried all the applause was undoubtedly the baritone Valerii Khraponov. He played the role of Giorgio Germont (father of Alfredo) and sang with all certainty, showing a clean and balanced timbre. The Rostov orchestra, under the batute of Mikhail Paguin, acted precisely, although voices sometimes arrived.