Marlis Petersen (Violetta Valéry), Kristina Antonie Fehrs (Flora Bervoix), Fran Lubahn (Annina), Giuseppe Varano (Alfredo Germont) & James Rutherford (Giorgio Germont)
Oper Graz, Tecwyn Evans (conductor) & Peter Konwitschny (stage director)
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Set & Costumes by JOHANNES LEIACKER
With this production of La Traviata, director Peter Konwitschny achieved a resounding success and Marlis Petersen made a sensational debut in the title role.
The first ever production of La Traviata by Peter Konwitschny of Graz Opera is a highly-focused, intelligent reading of the music that was widely acclaimed by audiences. With a reduced stage set and daring cuts in the score, the production concentrates on the tragic story of the courtesan Violetta. Soprano Marlis Petersen (2010 „Singer of the Year“ in Germany) is superb in the title role.
BONUS: “La Traviata” in Graz – An introduction by Ioan Holender. Including interviews with Peter Konwitschny and Marlis Petersen as well as backstage and rehearsal footage.
Sound Format: PCM Stereo, dts-HD Master Audio 5.0
Picture Format: 16:9
Resolution: 1080i FULL HD
Languages: IT (Original Language), GB, DE, FR, ES, JP, Korean
Running Time: 110 mins + 20 mins (Bonus)
Blu-ray Disc: 25 GB (Single Layer)
“Konwitschny is radical enough to introduce a character - silent, of course - whom Verdi and his librettist left out. That is Germont's daughter...Now to the musica performance: it is heavily cut, with the second verse of arias omitted, and also some very poignant music...Petersen is wonderful, and I think she would be in a more conventional production. She has a phenomenal vocal range, and she acts electrifyingly.”
“[Konwitschny] concentrates on the often very cruel emotional journey of the three principal characters...[Petersen, Varano and Rutherford] are intensely involved and in good vocal shape. Tecwyn Evans conducts with great rhythmic acuity and finds pace and tension without rushing or becoming unduly loud...An outstanding issue and a quite draining experience.”
8th December 2011
“Konwitschny's early training in Brechtian theatre is apparent in his fierce observations on sexual hypocrisy, and in the unnerving way he confronts his audience's prurient fascination with the subject matter. The performance he gets from Petersen is little short of extraordinary in its veracity and beauty...the score has been more heavily cut than many will like. It's not for purists, though it won't leave you indifferent.”
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