It is a fragile but essential balance that La Traviata always demands: between the luminous lightness of its melodic flights and the tension of an intimate drama unfolding behind closed doors, to the point of exhaustion. On the stage of the Deutsche Oper, in Götz Friedrich’s historic production, this tightrope walk between worldly splendor and absolute solitude is handled with seriousness. Here, no unnecessary glitter: the salons empty out as the acts progress, the costumes darken, and the mirrors covering the stage seem to reflect each person’s own image, suffocatingly so. The party is but an illusion, and everyone knows it.

In the pit, Vitali Alekseenok conducts with precise and supple beats, avoiding cheap effects or easy rubato. The orchestra sounds clear, well articulated, with fine tension in the ensembles and attentive listening in the more intimate scenes. His conducting remains sober but always musical: it accompanies, supports, breathes with the singers — exactly what this repertoire demands.

At the very center stands Nina Solodovnikova, shining as a completely captivating Violetta, embodying both fragility and strength with rare intensity. From her first aria, fragile and suspended, she captures both eye and ear before igniting “Sempre libera” with a controlled and daring brilliance, a true vocal fireworks. She then falls back with just the right touch of vulnerability in “Ah, forse lui,” delves with a deeply moving intensity into the contained pain of “Dite alla giovine,” and concludes in “Addio del passato” with a striking fragility where vocal purity and restrained emotion mingle without ever tipping into pathos. It is undeniably her who carries the evening and commands this role with magnetic stage presence and rare vocal truth.

Andrei Danilov, as Alfredo, does not disappoint, showing beautiful consistency with a bright timbre, healthy emission, and always elegant singing capable of intensity without excess. His natural musicality lends much charm to the character, and he holds his duets with touching sincerity.

Bogdan Baciu, as Germont, impresses with his solidity and vocal elegance, bringing a poised gravity and stage presence that anchors the drama convincingly. His singing line is fluid and controlled, and his “Di Provenza il mar” unfolds with a warm nobility that perfectly balances the tension of the plot.

Without reinventing La Traviata, this production convinces through honesty and deep commitment, offering the audience an evening rich in emotions and carried by a team where everyone finds their place, but it is truly Nina Solodovnikova who sweeps everything away, making this interpretation a vibrant and unforgettable moment. A fine success reminding us that Verdi’s magic lies first and foremost in the soul and heart of the performers.

CAST

Violetta Valéry
Nina Solodovnikova

Alfredo Germont
Andrei Danilov

Giorgio Germont
Bogdan Baciu

Flora Bervoix
Arianna Manganello

Annina
Maria Vasilevskaya

Gaston
Chance Jonas-O’Toole

Baron Douphol
Michael Bachtadze

Marquis D’Obigny
Dean Murphy

Doktor Grenvil
Gerard Farreras

Giuseppe
Kangyoon Shine Lee

Credit pictures : Marcus Lieberenz