_{Canadian Opera Company}<em> La traviata</em>“Traditional production served the drama well”

Following an enjoyable Beethoven Symphony No. 9 on September 17th that celebrated the 20th anniversary of the opening of the Four Seasons Centre, the Canadian Opera Company’s 2026/27 season officially opened the following evening with Verdi’s La traviata. Last seen at the COC in 2022, a revival after a four-year interval would seem a bit early. That said, few works in the standard repertoire have the drawing power of this Verdi warhorse. Based on available performance statistics from 1996 to now, La traviata is ranked third as the most frequently performed opera worldwide with 25,140 performances, surpassed only by Carmen and The Magic Flute.

The current run will total ten performances. The second and third performances, which I attended, were both very full if not sold out, underscoring its hold on the opera-loving public. Speaking for myself, as someone who has been going to live opera for nearly 60 years, this is one work that I never get tired of, especially when it was as well staged and sung as the current run. This Arin Arbus production (now under revival director Mo Zhou) is very middle-of-the-road and non-controversial – frankly, just the way I like it!

Much of the credit goes to American soprano Kathryn Lewek, making her COC debut as Violetta. She is widely regarded as the greatest Queen of the Night of our time, having sung it more than any soprano, likely in history! Here as Violetta, her display of vocal fireworks in “È strano! ... Ah, fors’ è lui” and “Sempre libera” was simply jaw-dropping. Fully embracing the character of Violetta, her Parisian courtesan was not just wonderfully sung but also dramatically powerful.

Lewek was well partnered by Chinese tenor Long Long, last seen as Faust two seasons ago. His Alfredo was pleasing to the ear and dramatically engaging. It was great to have veteran Canadian baritone Russell Braun back at the COC as Giorgio Germont. At 61, his voice has aged well, retaining its inherent beauty of tone. Its timbre, now darker given the passage of time, has a slightly more pronounced vibrato. It gives his Elder Germont the ideal gravitas. His “Di Provenza il mar” was a highlight of the evening.

I also attended the September 27 performance, with an alternate cast in the three principal roles. Returning to the COC after her lovely Gilda last season was Canadian soprano Andriana Chuchman as an endearing Violetta. Vocally, she struggled a bit with the high tessitura in the first act. She was at her best vocally and dramatically in the last act, singing a moving “Addio, del passato.” American tenor Luke Norvell was a fine Alfredo, singing a beautiful “De’ miei bollenti spiriti.” Making his COC debut, American baritone Reginald Smith, Jr. was a physically and vocally imposing Giorgio Germont.

The supporting roles were taken mostly by current and former COC Ensemble Studio artists. Kudos to Emma Pennell as Annina and to Ariana Maubach as an always smiling Flora Bervoix. With its gorgeous costumes and set design, the traditional production served the drama well. If I were to nitpick, I would have preferred a more detailed backdrop rather than something so plain and without any suggested opening to the outside. It doesn’t work well in the last act, with the references in the text to daylight and the revelers going past.

The COC chorus was in its reliable and vocally pleasing form. Italian conductor Paolo Carignani makes a welcome return to the company, leading the orchestra in a beautifully paced and idiomatic performance of the wonderful score.

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