La Traviata came to Baltimore at the Lyric Opera House last weekend – Beautiful, 
Romantic, Tragic. Bravo, Bellisimo, Cheers to Baltimore Opera! I was fortunate to attend the opening night as a guest with friends Amy and Phil (Phil is in the Orchestra). While opera is not for everyone, it is delightful, albeit lengthy, but truly a delicious pageantry - a feast for the eyes, ears, and heart. Music and tale come to life with amazing arias and enchanting costumes all set on the backdrop of an amazing elaborate and decadent stage, visually sweeping you away to another place and time.
I have been to a few Operas, my first being a sophomore in college “La Boehme”, you never forget your first opera. I have listened to many more courtesy of WBJC 91.5 Saturday Opera Fest – and I especially enjoy the Broadcast of the Met Opera performances(Launched in 1931, the Metropolitan Opera’s Saturday matinee broadcasts are the longest-running continuous classical program in radio history.) I have never watched the Met Opera’s live visual broadcast in movie theaters – however I may have to try that venue too http://www.amctheatres.com/TheMet/
In the Fall of 2009, I came to the Baltimore Opera Company’s Performance of Aiada also by Verdi – it was the last opera before closing it’s doors and going under. Unfortunately, I wasn’t terribly surprised at the opera company’s own tragic fate. The Baltimore Opera Company’s Slogan: – I kid you not: “Opera: It’s better than you think, it’s got to be.” the power of positive thinking and brand marketing basics were ignored with those few and incredibly uncomfortable words (I cringe to think of them). The Egyptian story was preformed beautifully, unfortunately the digital projection style set left much to be desired – it wreaked of 1980’s video game technology – with the occasional horizontal lying Cleopatra styled graphic moving screen saver – like a moving target ready to be shot at by children in an arcade. It was distracting, especially as a great part of the opera experience is the interaction of performers and the set – together they tell a compelling story – the set is enticing, the performers provocative. I want to be excited and intrigued; I want to brought into the performance before it begins – with a visual appetizer so to speak.
With the invitation, I was excited to go although not sure what to expect. I was amazed and impressed, another bravo for Baltimore Opera! I add my sentiments in agreement to Megan Ihnen’s review found on Opera Pulse 
“Grand Opera is undeniably back in Baltimore and as a city and arts community we are better off for it. The gorgeous sets, beautiful singing, talented musicians, and stage direction was a reward for all of the hard work it takes behind the scenes to make opera happen. The enthusiasm is still there both on stage and in the audience. This is no longer an opera company taking gratuitous risks to appease some mythical “public” but a company that is relying on its strengths to bring high quality performances to Baltimore. I can think of no better way to rebuild opera’s presence here than to strive for excellence and value in each facet of the company. That is why I join the audience from opening night in saying “bravo” to Lyric Opera Baltimore.” Quotation and Baltimore Photo Credits: http://www.operapulse.com/2011/11/05/news/lyric-opera-baltimore-is-reborn-with-stunning-la-traviata-review/ I will plan to be in the audience at Mozart’s Le Nozze di Figaro in March 2012!
The Opera 411:
The Opera “La Traviata” by Giuseppe Verdi Based on the novel La Dame aux Camélias by 
Alexandre Dumas, fils. Sung in Italian with English surtitles (thank you!) Verdi’s immortal telling of the story of the Lady of the Camellias is an opera lovers’ dream, full of passion, sacrifice, love, death, and redemption. The glamorous courtesan Violetta has finally found real love in the embrace of Alfredo. She must give him up for the sake of honor, and unknowing, he heartlessly denounces her in a scene of public humiliation. They reunite on her death bed and she passes into eternity knowing that she at last knew true love. STARRING: Elizabeth Futral (Violetta), Eric Margiore(Alfredo), Jason Stearns (Germont), Colleen Daly(Flora), Suzanne Chadwick (Annina), Rolando Sanz(Gastone), Kenneth Mattice (Baron), Jimi James(Marquis d’Obigny), Brendan Cooke (Grenvil) Conductor - Steven White Stage Director - Crystal Manich FEATURING: The Baltimore Symphony Orchestra (BSO) conducted by Steven White. The production will be directed by Crystal Manich with opulent sets and costumes from Lyric Opera Chicago. http://www.lyricoperahouse.com/page_img.php?cms_id=58 see set photo from another production below
The Story: Opera Synopsis: La Traviata
ACT I. In her Paris salon, the courtesan Violetta Valéry greets party guests, including Flora Bervoix, the Marquis d'Obigny, Baron Douphol, and Gastone, who introduces a new admirer, Alfredo Germont. This young man, having adored Violetta from afar, joins her in a drinking song (Brindisi: "Libiamo"). An orchestra is heard in the next room, but as guests move there to dance, Violetta suffers a fainting spell, sends the guests on ahead, and goes to her parlor to recover. Alfredo comes in, and since they are alone, confesses his love ("Un dì felice"). At first Violetta protests that love means nothing to her. Something about the young man's sincerity touches her, however, and she promises to meet him the next day. After the guests have gone, Violetta wonders if Alfredo could actually be the man she could love ("Ah, fors'è lui"). But she decides she wants freedom ("Sempre libera"), though Alfredo's voice, heard outside, argues in favor of romance.
ACT II Some months later Alfredo and Violetta are living in a country house near Paris, where he praises their contentment ("De' miei bollenti spiriti"). But when the maid, Annina, reveals that Violetta has pawned her jewels to keep the house, Alfredo leaves for the city to settle matters at his own cost. Violetta comes looking for him and finds an invitation from Flora to a party that night. Violetta has no intention of going back to her old life, but trouble intrudes with the appearance of Alfredo's father. Though impressed by Violetta's ladylike manners, he demands she renounce his son: the scandal of Alfredo's affair with her has threatened his daughter's engagement ("Pura siccome un angelo"). Violetta says she cannot, but Germont eventually convinces her ("Dite alla giovine"). Alone, the desolate woman sends a message of acceptance to Flora and begins a farewell note to Alfredo. He enters suddenly, surprising her, and she can barely control herself as she reminds him of how deeply she loves him ("Amami, Alfredo") before rushing out. Now a servant hands Alfredo her farewell note as Germont returns to console his son with reminders of family life in Provence ("Di Provenza"). But Alfredo, seeing Flora's invitation, suspects Violetta has thrown him over for another lover. Furious, he determines to confront her at the party.
At her soirée that evening, Flora learns from the Marquis that Violetta and Alfredo have parted, then clears the floor for hired entertainers - a band of fortune-telling Gypsies and some matadors who sing of Piquillo and his coy sweetheart ("E Piquillo un bel gagliardo"). Soon Alfredo strides in, making bitter comments about love and gambling recklessly at cards. Violetta has arrived with Baron Douphol, who challenges Alfredo to a game and loses a small fortune to him. Everyone goes in to supper, but Violetta has asked Alfredo to see her. Fearful of the Baron's anger, she wants Alfredo to leave, but he misunderstands her apprehension and demands that she admit she loves Douphol. Crushed, she pretends she does. Now Alfredo calls in the others, denounces his former love and hurls his winnings at her feet ("Questa donna conoscete?"). Germont enters in time to see this and denounces his son's behavior. The guests rebuke Alfredo and Douphol challenges him to a duel.
ACT III. In Violetta's bedroom six months later, Dr. Grenvil tells Annina her mistress has not long to live: tuberculosis has claimed her. Alone, Violetta rereads a letter from Germont saying the Baron was only wounded in his duel with Alfredo, who knows all and is on his way to beg her pardon. But Violetta senses it is too late ("Addio del passato"). Paris is celebrating Mardi Gras and, after revelers pass outside, Annina rushes in to announce Alfredo. The lovers ecstatically plan to leave Paris forever ("Parigi, o cara"). Germont enters with the doctor before Violetta is seized with a last resurgence of strength. Feeling life return, she staggers and falls dead at her lover's feet.
I especially enjoy the long and dramatic death scene, photographed above: Violetta is cured by her lover’s return which accompanies his regret, understanding and reconciliation - briefly she feels no pain, she is exhilarated by love’s return, then in a drop, dead. Alfredo is beyond himself with her tragic end, he came too late, she was taken from her. The music builds to these moments – you can’t help but clap in the thrill and drama of the moment. Well played.
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