Atlanta Opera stages a sumptuous, beautifully sung ‘La Traviata’

Atlanta Opera’s La Traviata is a sumptuous production, beautifully sung and gracefully acted. Francesca Zambello’s staging, a revival of the Atlanta Opera’s 2019 production, is thoroughly traditional, set in the glow of the Belle Époque.

Verdi’s most-often performed opera centers on the courtesan Violetta Valery, beautiful and vivacious though afflicted with consumption.

Violetta is one of opera’s finest and most challenging roles, and this production at the Cobb Energy Performing Arts Centre benefits from the radiant voice of Armenian soprano Mané Galoyan.

As Violetta, Galoyan has the agility, power and lustrous high notes needed to soar over Verdi’s orchestra. Likewise, her velvety legato and high pianissimos on opening night, November 8, were ravishing. Galoyan struggled a bit with the high Cs of the famously florid Act I aria “Sempre Libera” (“Always Free”), and she chose not to take the often-interpolated high E-flat at the end of the aria — but she returned in strong voice for the rest of the opera.

Long Long, last seen in Atlanta Opera’s La Bohème in 2024, sings the role of Alfredo, the young man who falls in love with Violetta. On opening night, Long boasted a ringing tenor and also brought great warmth and subtle shadings to the role’s more lyrical episodes. He capped off the famous cabaletta “O mio rimorso” (“Oh, my remorse”) with a powerful high C.

Singing together, Galoyan and Long brought a caressing lyricism to their duets.

Anthony Clark Evans’ resonant and stentorian baritone served him well in the role of Alfredo’s disapproving father, Giorgio.

Evan Rogister’s conducting was exemplary. Rogister, a former longtime music director with the Washington National Opera, led a vigorous and detailed performance, favoring bold, brisk tempos and sharp, dramatic contrasts. With a keen sense of drama, Rogister at times brought the orchestra down to a whisper and, at others, pulled out all the stops for some dynamic episodes that filled the Cobb Centre with glorious sound.

La Traviata includes significant choral work, and the Atlanta Opera Chorus, under the leadership of chorus master Daniel Chervinsky, sounded magnificent, even given Rogister’s challenging tempos. Likewise, the Atlanta Opera Orchestra was in top form, playing with force and finesse.

Zambello, known for sometimes edgy productions, such as Beethoven’s Fidelio set in a Stalinist gulag, has favored a traditional approach in this staging. Even the party scenes were merely stylishly decadent, eschewing the salaciousness sometimes evoked by other directors. Zambello, assisted by Joshua Horowitz and Andrea Beasom, made creative use of the opera’s orchestral prelude by opening with a glimpse of the final scene: Violetta hospitalized with the consumption that will eventually kill her. But Violetta suddenly rose from her bed to relive the story of her love for Alfredo. The scene changed to reveal a vibrant party where she first met Alfredo.

Zambello offers other nice touches. To emphasize the change in Violetta’s life when she moves to the country, Zambello included a brief appearance by a galumphing puppy, who elicited expressions of “Awwww…!” from the audience.

The production design is lavish. Peter J. Davison’s opulent set features an elegant wall of turning triangular prisms called pariaktoi, each side painted to evoke different backgrounds. Jess Goldstein’s costumes are colorful and glamorous.

Choreographer Parker Esse, assisted by Andrea Beasom, provided some spirited and well-executed dances at one of the party scenes.

Three more performances, November 11, November 14 and November 16, remain of Atlanta Opera’s glittering La Traviata. For more information, go to atlantaopera.org.