For the second time in a year, I had the chance to see this magnificent production of La Traviata in one of Prague’s fabulous theaters — and let me tell you, the City of a Thousand Spires truly knows how to attract a diverse and passionate audience. I was actually quite surprised by how young the crowd was last night! Maybe it’s because Giuseppe Verdi’s music still has that irresistible power to draw in lovers on a romantic Sunday evening.
Either way, I can only encourage you to visit Prague. You all know how much I love their opera house — and I’ll never stop thanking them, because they were the very first institution to believe in Opera Diary when it all began.
It was actually my second opera of the weekend — after Otello on Friday night and a bit too much wine on Saturday — so it was time to close the weekend with an opera that everyone knows by heart, yet one that always moves you. Yes, it was already my seventh Traviata of the year!
The role of the tender yet strong Violetta was performed by Jana Sibera, a soloist at the Prague Opera who knows this stage better than anyone. I’ve seen her in several productions here — always a pleasure. I still remember last year’s Traviata in the same theater, when her Alfredo really wasn’t having his best night… this time, it was Papa Germont who struggled a bit.
Jana Sibera delivered an extraordinary stage presence — she gave everything from start to finish, balancing arias, duets, and her character’s illness with stunning control. The Czech soprano showed once again that she’s completely at home here and that her voice is one to watch in the Eastern European opera scene.
By her side was Italian tenor Matteo Desole — and let’s be honest, you don’t even need to see his name to know he’s Italian! It was a real pleasure hearing him on the Prague stage last night. Special mention for his aria “Un dì, felice, eterea,” sung with warmth and elegance. His diction was flawless, his bel canto lines were beautiful, and my neighbor on the right was clearly under the tenor’s spell (the power of tenors, right?).
Unfortunately, the evening’s disappointment came from the role of Papa Germont. You know our Opera Diary philosophy — we always try to focus on the good and inspire people to go to the theater rather than criticize too harshly — but this time, I have to admit it was difficult. After a strong entrance opposite Violetta, things went downhill quickly. From the first notes of “Di Provenza,” I could tell the rest of the evening would be hard for me, especially for a role I love so much. Verdi wrote such sublime music for this voice type, and sadly, I was left unsatisfied. Hopefully next time will be better!
Although the world’s most popular opera relies mainly on its trio of lead singers, the supporting cast in this production did an excellent job — from the Doctor to Gaston, the Marquis to Flora, the ensemble was vocally well-balanced and engaging.
A special mention must go to the orchestra — and what a pleasure to see a woman conducting La Traviata! Anna Pozidis gave us a wonderful evening with precise, elegant direction and, I’d dare say, not a single wrong note.
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CAST
Violetta – Jana Sibera
Alfredo – Matteo Desole
Giorgio Germont – Svatopluk Sem
Flora – Sylva Cmugrova
Gaston – Michael Skalicky
Baron Douphol – Roman Vocel
Marquis d’Obigny – Ivo Hrachovec
Docteur Grenvil – Pavel Svingr
Annina – Lucia Bildova
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Conductor – Anna Pozidis
Staging – Arnaud Bernard
