La traviata, Opera Holland Park

Opera Holland Park’s 2025 revival of La traviata, directed by Rodula Gaitanou, is no lazy rehash but a richly musical and emotionally articulate production that balances traditional elegance with moments of dramatic intensity. Returning to the role of Violetta, Alison Langer delivers a performance of remarkable growth and nuance. From the coquettish sparkle of Act I’s “Sempre libera” to the heartbreak of “Addio, del passato”, she moves convincingly through Verdi’s emotional landscape, never overplaying illness, but allowing frailty and strength to coexist in tension.

The same can be said of Matteo Desole’s Alfredo, whose lyrical warmth and boyish earnestness make for a believable counterpoint to Violetta’s complexity. While he occasionally treads dangerously close to petulance, his passion never feels unearned. Their chemistry is compelling, especially in their Act II confrontation and later in the tender resignation of “Parigi, o cara”, where Desole sings less with hope than with gentle foreknowledge.

Michel de Souza’s Giorgio Germont, though vocally assured and dignified, could have brought more menace to the role. Nevertheless, his duet with Langer, where he pleads for Violetta to sacrifice her love, remains a musical and dramatic highlight, with Langer refusing to surrender to melodrama, instead offering a deeply human portrayal of restraint and resignation.

Cordelia Chisholm’s set is gorgeously functional, with its mirrored doors and curtained chamber allowing quick transitions from glittering Parisian salons to rural retreat and back again. The use of black drapery in Violetta’s boudoir subtly prefigures the tragic ending, a clever visual cue that aligns with Gaitanou’s central conceit: the ever-present shadow of death. From the first laboured breath to the final gasp, this production insists on mortality being front and centre.

The party scenes are lavish, almost distractingly so. Gaitanou packs the stage with elaborately dressed chorus members, weaving smaller subplots into the fabric of the action. Though occasionally overwhelming, this maximalism underlines the social bustle that isolates Violetta emotionally. Steve Elias’s choreography remains just the right side of parody, particularly in Flora’s louche masquerade. Ellie Edmonds as Annina offers welcome emotional clarity in the quieter moments, while Laura Woods’s voluptuous Flora and Nicholas Garrett’s icy Barone Douphol round out a strong supporting cast.

Musically, the production is assured. Conductor Matthew Kofi Waldren draws warmth and agility from the City of London Sinfonia, shaping Verdi’s score with both urgency and care. The orchestral textures breathe naturally, never overpowering the singers but offering dynamic support, especially in the transition from ballroom gaiety to tragic denouement.

What impresses most is how lived-in this production feels. The principals have matured into their roles, and the entire ensemble performs with cohesion and conviction. It may not be revolutionary, but it is intelligent, elegant, and deeply affecting. A revival that earns its place through musical strength, visual coherence, and emotional storytelling.

Photo credit: Opera Holland Park