La traviata is certainly one of the most popular operas, in terms of number of productions, in the world. Many statistics, including those at operabase.com, name it the most-performed opera, and in other sources it is always listed among the top three.
That makes it ideal programming for Opera York, a community-based opera company just north of Toronto that hires Canadian singers – often emerging professionals or well-trained singers who have chosen not to make opera their primary source of income – in lead roles and presents standard operatic repertoire in productions where the professional singers are supported by the work of numerous volunteers, both onstage and off.
La traviata, of course, belongs to Violetta: on this occasion, soprano Lauren Estey. She is a member of the 2024/25 Digital Emerging Artists Program at Manitoba Opera and also sang Violetta in 2019 for Summer Opera Lyric Theatre. Violetta is a difficult role, almost demanding a different type of soprano voice for each act. Estey had strong command, even in the difficult fioritura passages, of the first act finale. Her technical ability was on full display, particularly as she sang parts of the “Ah, fors è lui” lying down and coping with a prop cigarette. She also showed off her lovely top range with some very sensitive singing in “Addio, del passato.” Where Estey really shone, however, was in the second act duologue with Germont père, sung by Diego Catala. The audience felt both the depth of her passion for Alfredo and the trauma that Germont’s request was causing her, and she provided a strong character arc for Violetta throughout the lengthy scene.
In the role of Alfredo, tenor Joseph Adams has a slightly lighter timbre, and he had some challenges projecting over the orchestra in the lower and mid portions of his range. That lightness was used to great effect, however, in the vocally agile sections of the famous Brindisi, and his second act aria, especially the well-known cavatina, was beautifully sung. As Germont, Catala was lovely. He has a nice warm baritone with a particularly strong ability to use piano dynamics in the top part of his range, and he was a generous scene partner. His “Di Provenza il mar” was one of the highlights of the evening.
La traviata also has nine smaller roles for named characters. Overall, these singers did well, and special attention should be paid to the comfortable stage presence of Christian Matta as Gastone, the resonant voice and commanding performance of Handaya Rusli as the Marchese d’Obigny, and the beautifully voiced Annina of Heather McGrath.
Photo Credit: Robert Kisin
Violetta (Lauren Estey) and Germont (Diego Catala) come to terms about the future of her affair with Alfredo
The Opera York production was well led by conductor Geoff Butler. He had a strong sense of the movement through the entire piece, his tempos were well-established and appropriate for the resources of this production, and the 17-piece orchestra played with a good sense of legato line and dynamics. There was a reasonably good balance between the singers and the orchestra. There were some moments when the brass section was slightly heavy, but that may have had more to do with their placement in relation to my seat in the theatre.
The volunteer chorus, a diverse group prepared by chorus director Richard Cunningham, also performed well under Butler’s leadership. They had great energy and enthusiasm as well as a good, clean sound. The chorus did face some challenges. It would have been nice to have heard a greater dynamic build in “Si ridesta in ciel l’aurora,” and show me a volunteer chorus that couldn’t use a few more tenors, but their work was strong overall. Their singing was particularly precise in the difficult Act Two finale.
The set, by Lin-Mei Lay, Frank Pasian and Robert Kisin, was simple, suggested by furniture pieces and lovely projections that hinted at art deco design elements. The red for Flora’s party, well-mirrored by Amanda Eason’s costumes, was particularly striking. The director, Stephen Carr, also kept things minimal and offered a traditional staging of the opera. The simplicity of his direction did not work perfectly for all the principal singers, some of whom struggled with movement and gestural languages that felt unmotivated.
Opera York’s mission is to provide passionate, professional opera for everyone and to entertain, enrich, educate and inspire – as they put it succinctly, “Opera for Everyone.” Judging from the enthusiastic response from the opening-night audience, including well-earned rapturous ovations for both Estey and Butler, they are fulfilling that mission beautifully.
Photo Credit: Robert Kisin
Alfred (Joseph Adams, on right) wins at the gambling table
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Michael Jones has a BMus and MA from Western University, where he focused his studies on contemporary opera and theatre music. After “retiring” as CEO of SK Arts, he became Editorial Director of Opera Canada in 2024.
