This new revival of Günter Krämer’s production was obviously worth the trip for the two headliners, in the title role and as Giorgio Germont, but the evening also reserved an excellent surprise with the discovery of a magnificent Alfredo full of promise.

Under the fiery direction of Henrik Nánási, the Bayerisches Staatsorchester managed to lift us from the stupor that this not-so-thrilling staging might have put us into.

Indeed, it’s in the music that everything truly works.

Starting, of course, with the sublime Lisette Oropesa. Her performance is a masterclass in singing, paired with a unique sense of emotion. Perhaps even more so in the final act, where no one interprets Violetta’s death better than Lisette. She is a one-of-a-kind singer.

Luca Salsi, after a magnificent Macbeth in Florence last month, continues to prove that he may be the greatest Verdi baritone of today. Everything is there, both vocally and theatrically.

Alongside these giants, global references in their roles, Granit Musliu, a former member of the Bayerische Staatsoper’s Opera Studio, makes his debut in such an important role. It must be said that he is entirely deserving of it. His high notes are secure, and his projection is solid. Perhaps we would almost wish for a bit more abandon at certain moments so he can fully express himself. In any case, his Alfredo is already well established, and his stage presence is undeniable. He is certainly a name to watch in the coming years, and perhaps in Lausanne next June as the Duke of Mantua.