Word: violettas
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Audience members today, living in a world that doesn't value marriage and feminine purity to such an extent in relationships, may not get such a message from the plot; however, Violetta's struggle against fate and the scars of her past continues to have widespread appeal...
Instead, scenes such as those between Violetta and Alfredo's moral-minded father are characterized by the dignity with which Violetta conveys her grief at being forced to leave Alfredo and the sympathy she receives from his father. Certain stage directions are perplexing, such as Violetta's unexpected entrance onstage during the overture, but overall the plot unwinds with style and economy...
Fortunately, however, most of the time the words don't need to be poetry, but vehicles for the music. And the vocal and musical quality of the cast is consistently high. Laurie Anne McGowan as Violetta shows remarkable control of a powerful and expressive soprano voice...
Michael Morizio as Alfredo's father Georges Germont contributes his warm, paternal baritone voice to complete the trio of main characters. These are supported strongly by Joel Derfner as the man-about-town Gaston, Emily Baehr as Violetta's friend and rival hostess Flora, and Benjamin Siris as Violetta's jilted "client" the Baron Douphol...
...very musical and handsome chorus completes the cast, whose loud denunciation of Alfredo's public shaming of Violetta in the second act is particularly powerful. Joel Bard's musical direction keeps the pace from dragging while making the most of expressive opportunities for the able and tightly synchronized orchestra. Of note is the delicate balance achieved of players and singers in the large ensembles...