SEARCH ? ? ? ?

FOLLOW US ABOUT US/CONTACT

SUBSCRIBE TO OURNEWSLETTER

Review: Soprano Mary Dunleavy

vividly carries the day in Atlanta

Opera’s “La Traviata”

March 9, 2013

By STEPHANIE ADRIAN

Mary Dunleavy has turned Violetta into a signature role for good reason. (Photo by Jeff

Roffman)

If you’ve seen Steven Spielberg’s recent movie “Lincoln,” you’ve seen and heard sopranoMary Dunleavy. The singer, who makes a cameo appearance in the film while Abrahamand Mary Lincoln discuss potential legislation in their box seats at the opera, gracesAtlanta with her interpretation of Violetta Valéry, the female protagonist in GiuseppeVerdi’s opera “La Traviata,” which concludes Sunday at the Cobb Energy PerformingArts Centre.

The casting of Dunleavy as the 19th-century Parisian courtesan was brilliant. Violetta isapparently her signature role, one that she has reprised at the Metropolitan Opera severaltimes. It was evident that she was entirely comfortable inhabiting the role here with theAtlanta Opera as well.

Verdi dominated and revolutionized Italian opera in the interim between Donizetti’s lastbel canto hit, “Don Pasquale,” in 1843 and Puccini’s initial verismo success, “ManonLescaut,” in 1893, but his “La Traviata” is still very much steeped in the tradition ofelegant vocalism and double-aria forms that his predecessors Donizetti, Rossini andBellini established during Verdi’s formative years. Armed with incredible dramaticinstincts and musical genius, Verdi created in ”La Traviata” an enduring domestic tragedycentered on Violetta Valéry’s sacrifice for her beloved, composing what has become one ofthe most popular and performed operas in the repertoire.

Verdi undoubtedly would be pleased with the Atlanta Opera’s staging of thework, because Dunleavy delivers an exquisite performance of his heroine in every aspect.Her Act I singing of the cavatina “Ah forsé lui che l’anima” and the following cabaletta

SHARING THIS ARTICLE

AUTHOR

Stephanie Adrian

MORE ARTICLES BY AUTHOR

Review: Skylark Vocal Ensemblesoars with intimate evening ofharmonies to Virgin Mary

Review: German countertenorAndreas Scholl’s voice hypnotizesin recital at Spivey Hall

Review: Atlanta Opera kicks off itsseason with smart, solid take onBizet’s “Carmen”

were captivating. She possesses a voice with squillo, a.k.a. ping, omnipresent in bothsustained and agile passages. Her voice and look were transfigured in Act III for Violetta’sfinal act and aria, “Addio del passato.” The squillo was gone, but not the lovely core ofthe sound or the brilliant legato. (Happily, Dunleavy is scheduled to return to Atlantanext season in the role of Gounod’s Marguerite.)

Conductor Joseph Rescigno returned to lead the opera orchestra and a cast that wasalmost ideal. Baritone Weston Hurt, last heard in Jun Kaneko’s controversial “MadamaButterfly” in 2008, sang the role of Giorgio Germont with wonderful proficiency andwarmth. He negotiated the upper reaches of “Di Provenza” with utter ease, and hissinging complemented Dunleavy’s throughout their lengthy, four-movement duet atVioletta’s country home in Act II. Regrettably, however, Russian tenor Boris Rudak didnot impress in the role of Alfredo. His lovely timbre and admirable legato wereovershadowed by passages of questionable intonation and awkward moments onstage.

David Gately directs the Atlanta Opera’s “Traviata.” Several years ago, Gatelyconstructed a clever “La Cenerentola” at the Cobb Energy Centre with Jennifer Larmorein the title role, and it’s evident that his work is most satisfying in scenes that involvecomedy and a wealth of stage business. Flora Bervoix’s party, heavily populated by thestellar Atlanta Opera Chorus and set within a monochromatic scarlet drawing room, isjust such a scene. A single Gypsy girl (dancer Tamara Merritt Irving) entertained the

inebriated guests, including Gastone (played by tenor and natural comedian WesleyMorgan), and created both strife and passion between Flora and her love interest theMarquis D’Obigny, sung by the talented mezzo-soprano Maria McDaniel and bass-baritone Jason Hardy.

The Opéra de Montréal production, last seen at the Boisfeuillet Jones Atlanta CivicCenter in 2005, was revived and reassembled this season, but much has happened to theAtlanta Opera while the handsome Claude Girard-Bernard Uzan sets were hibernating.Dennis Hanthorn arrived as general director, implemented strategies that put thecompany into the black and secured a more glamorous and suitable venue at the Cobbfacility. Now, seven months after Hanthorn’s hasty resignation, the opera’s board ofdirectors is almost at the conclusion of its search for a new visionary.

peg Gary Mar 11

Peter Stelling Mar 11

NAME

EMAIL

COMMENTS

Peter, I thought it was one of the best operas I have seen, and never a better

Violetta. In addition on to that fine voice was the marvelous acting!! The last scene

undid me. I don’t fault the tenor so much – his voice just wasn’t the big robust

quality needed but he carried on without a glitch. There aren’t many good tenors to

be had. A rare voice, isn’t it.

The sets were all that could be asked for. . I did think the baritone was very very

fine!

And what do you hear from Dennis Hanthorn? I miss him.

I have never seen the Italian Girl and look forward to that.

I have heard in live performance the Violettas of Tebaldi, Moffo, Kirsten, and

Stratas, and Mary Dunleavy absolutely lived up to the performances of those

legendary sopranos. Her wonderful voice is enhanced by her superb acting. Her

Addio del passato was emotionally wrenching.

Joseph Rescigno got some wonderful things out of the Atlanta Opera orchestra. I

hope he will be invited to guest conduct again in future seasons.

Reply to this article

SHARING THIS ARTICLE