Whatever else can be said about John Berry, the beleaguered Artistic Director of the ENO, he has brought to London one of the most radically innovative directorial talents in the world: Peter Konwitschny, whose 2013 La Traviata is now revived. For that alone, we should be grateful.
Konwitschny’s conception gains its power by theatricalising the action, most of which is played in front of stage-type curtains (the minimal design is by Johannes Leiacker). Characters appear beside us, the audience, in the theatre and the hypocritical, boorish behaviour of the guests at Flora’s party is highlighted in their freakish parading round the stage. The theatrical mode also serves to exaggerate the tensions between characters. Thus Alfredo, in cardigan and duffel coat, learns about love from books, while Violetta, sporting a variety of costumes and wigs, is torn between true love and the social role she plays as a courtesan.
Germont produces a real daughter (oddly a young schoolgirl) to bolster his claim that Violetta endangers the young woman’s marriage prospects, but loses the moral high ground by striking his daughter.
A few elements remain questionable, but this is a fiercely intelligent, gripping show. Ben Johnson, returning as Alfredo, makes an impressive stab at the role, the sense of vocal containment not inappropriate to the characterisation. Again as befits the role, Elizabeth Zharoff has more spontaneity, more charisma as Violetta. Anthony Michaels-Moore reveals new vocal and acting strengths this time round as Germont. Roland Böer maintains rhythmic tension and captures the black brass sonorities of the tragic final scene.
Until Friday March 13 (020 7845 9300, eno.org)
