www.thestage.co.uk
By George Hall
Two important cast changes do little to raise the overall temperature in
what is essentially a dramatically disengaged revival of the popular romantic
classic, though at least one of them provides an individual performance of some
distinction.
This is the Alfredo of the Maltese tenor Joseph Calleja, who suggests
the young man’s gaucheness and diffidence in the opening party scene and
throughout the role adopts an appropriate stance and expression for each and
every situation. His vocalism is of an altogether superior class. He shapes
every phrase with care and imagination, and the sheer artistry of his singing,
together with a most attractive natural set of vocal colours, draws the ear
again and again. Covent Garden should plan a new production for Calleja, who is
too important an artist merely to slot into revivals, and in a nominal second
cast at that.
Anthony Michaels-Moore draws on his experience and solid voice for a
Germont that is present and correct but dull. His anglicised Italian vowels are
much in evidence. Both these principals, as well as Norah Amsellem’s vocally
confident, dramatically uncharismatic Violetta would benefit from more incisive
and detailed direction. Interaction between them is woefully limited.
As on the first night, the smaller roles are good, though at Covent
Garden one expects the best. Those registering most positively are Jeremy
White’s Marquis d’Obigny, Robert Murray’s Gastone and Gillian Knight’s Annina.
The rest are sketchily drawn.