Giorgio Lalov, Artistic Director
presents
| Artistic Director/Stage Director | Giorgio Lalov |
| Conductor | J. Ernest Green |
| Super Titles | Maestro Internationale |
| VIOLETTA VALERY | Marina Viskvorkina, Soprano |
| FLORA BERVOIX | Viara Zhelezova, Mezzo-Soprano |
| ALFREDO GERMONT | Israel Lozano, Tenor |
| GIORGIO GERMONT | Nelson Martinez, Baritone |
| BARON DOUPHOL | Hristo Sarafov, Baritone |
| DOTTORE GRENVIL | Plamen Dimitrov, Basso |
MARINA VISKVORKINA (Violetta Valery): Marina is a soprano of Russian origin, whose international career started in 1998 with series of concerts (e.g. Orff — Carmina Burana and Bach — Magnificat) at the international music festivals in Prague and Český Krumlov). From the opera roles of her repertoire we should name in particular Violetta (Verdi — La traviata), which she has presented at the Vienna and Hamburg State Operas, at the Prague State Opera, Prague and Brno National Theatres, Odessa State Opera; and Gilda of Verdi’s Rigoletto, which she performed in at the American Connecticut Grand Opera, Teatro Massimo in Palermo, the Prague State Opera and the Prague National Theatre. At the opera houses in Vienna, Stamford, Parma, Piacenza and Karlsruhe Vyskvorkina appeared in the title role of Dinizetti’s Lucia di Lammermoor. In Berlin and Prague she sang Musetta (Puccini — La Bohème), Giulietta (Bellini — The Capulets and the Montagues) at the Teatro Massimo Bellini in Catania, Juliette (Gounod — Roméo et Juliette) in Connecticut, and Manon (Auber — Manon Lescaut) at the festival in Irish Wexford. At the Prague State Opera she also appeared as Ophelia in Thomas’s HAMLET, Queen of the Night (Mozart — Magic Flute) and Oscar (Verdi — Masked Ball). At the Brno National Theatre Vyskvorkina appeared in the three-role of Olympia, Giulietta and Antonia in Offenbach’s Tales of Hoffmann.
Amongst her concert appearances we should mention Brahms’s German Requiem, Debussy’s Martyrdom of Saint Sebastian, Mahler’s 2nd Symphony, Shuman’s Requiem and Poulenc’s Gloria. She cooperated with such notable conductors as Serge Baudo, Zdeněk Mácal, Tamas Vasary, Howard Griffiths or Graeme Jenkins.
In 1997 Marina Vyskvorkina became absolute winner of the 32nd International Singing Contest of Antonín Dvořák in Karlovy Vary. In 2000 she won the 2nd International Singing Contest Gianfranco Masini Credem in Reggio Emilia in Italy.
Ukrainian soprano Marina Viskvorkina gave an extraordinary performance as the consumptive courtesan Violetta Valery. Viskvorkina’s got just about everything: she’s a voluptuous blonde with a big, creamy voice of pinpoint accuracy, and she can act. She began by depicting a very flirtatious Violetta. Her performance became increasingly inward and moving, conveying real dignity as Violetta confronts Alfredo’s father who wants her to give up his son. But it was in the last act that Viskvorkina ascended to tragic stature. She’s one of the rare Violettas who sings the notes yet still convinces you that she physically failing and feverish. And she is heartbreaking. Her performance would satisfy the most demanding audience of any great opera house.
BOSTON PHOENIX
ISRAEL LOZANO (Alfredo Germont): The young tenor from Madrid, Spain, started his studies with soprano Emelina Lopez and tenor Alfredo Kraus. Studying at the Superior School of Music and Queen's Superior School of Music in Spain, Mr. Lozano made his operatic debut at the age of 22 as Il Conte di Almaviva in IL BARBIERE DI SIVIGLIA by Rossini, and at the National Symphony Auditorium of Madrid. Mr. Lozano holds a G.P.D in opera from the Peabody Conservatory of John Hopkins University with tenor Dr. Stanley Cornett. In 2004, he completed the Domingo-Cafritz Young Artist Program and prepared, covered and sang roles at the Washington National Opera under the artistic direction of Plácido Domingo. Mr. Lozano received support from la Fundación y Protección del Arte in Spain.
Mr. Lozano sang in a televised concert gala with tenor Plácido Domingo (Operalia Concert Winners) in the Isle of Mainau, Germany, after receiving the unprecedented three prizes in the Plácido Domingo International Operalia Competition 2003. The prizes included opera, zarzuela, and the prestigious Prize of the Audience.
Mr. Lozano’s repertoire includes lyric tenor roles in LA TRAVIATA, MANON OF MASSENET, ELISIR D’AMORE, THE MAGIC FLUTE, LUCIA DI LAMMERMOOR, DIE FLEDERMAUS, DON GIOVANNI, LA BOHÈME, RIGOLETTO…in addition to roles in zarzuela, Spanish lyric-operatic music. In the United States he has sung principal roles at the Baltimore Opera, Washington National Opera, Los Angeles Opera, Palm Beach Opera, Carnegie Hall and with the National Symphony Orchestra. In Europe, 2004, he made his debut with the Teatro Real in Madrid singing the role of Belfiore in IL VIAGGIO A REIMS, and Alfredo in LA TRAVIATA at the Ludwigsburg Festival in Germany.
Performances include Paco in the Spanish opera LA VIDA BREVE with Opera Carolina, Sarasota Opera, Teatro Real of Madrid, Washington National Opera, Teatro Liceu of Barcelona and a concert gala with the baritone Joan Pons. Other engagements included his debut as Rodolfo in LA BOHÈME with Los Angeles Opera and Palm Beach Opera and concert tours in Spain and Mexico, the National Symphony Auditorium of Madrid, Duca di Mantova in RIGOLETTO and Edgardo in LUCIA DI LAMMERMOOR and the debut at the Theater an der Wien (Vienna). Others engagements included Duca di Mantova in RIGOLETTO (Concerlirica), LA BOHÈME with Bangkok Opera, Edgardo in LUCIA DI LAMMERMOOR with Florida Grand Opera. Upcoming engagements include Alfredo in LA TRAVIATA with Gustavo Dudamel and the Young Orchestra Simon Bolivar, and the role of Mario in a new opera production by the composer Daniel Catan of IL POSTINO at the Theater an der Wien singing again with Plácido Domingo.
NELSON MARTÍNEZ (Giorgio Germont): Young Verdi baritone Nelson Martínez began his professional career in Cuba as principal soloist with the Rodrigo Prats Lyric Theater, and later with Cuban National Opera. At Cuban National Opera, Mr. Nelson performed the main principal roles of the Italian repertoire, Figaro, Enrico, Germont, Rigoletto, Alfio, Tonio, Silvio and Marcello. In zarzuela, Mr. Martínez has performed the roles of Mario, Vidal, Germán, Joaquín, J. de Eguía, Juan Pedro, Juan en Los Gavilanes, Lázaro in EL CAFETAL, José Dolores Pimienta in CECILIA VALDÉS and José Inocente in MARÍA LA O. Abroad, Mr. Martínez has performed in opera and concert in Russia, Korea, China, France, Portugal and Spain on tour with the National Cuban Opera. He also appeared in Bogotá and Mexico City.
Mr. Martínez has been the recipient of many awards and prizes, among them the Grand Prize in the Ernesto Lecuona International Competition for Young Singers and the Grand Prize in the Fourth National Rodrigo Prats in Memoriam Competition in Havana. He was also a winner in the Belle Voci Competition in Eugene, Oregon in 2004.
In the United States, Mr. Martínez has been heard as Figaro and Rigoletto with Miami Lyric Opera and with Sociedad Pro Arte Grateli, the leading zarzuela company in the United States, as Juan Pedro in LA ROSA DEL AZAFRÁN. In the summer of 2008, he sang Escamillo with Metro Lyric conducted by Maestro Anton Coppola. In September, he appeared with Opera Company of North Carolina as Tonio in I PAGLIACCI. In December 2008, Mr. Martínez participated in a gala concert with the Miami Concert Association in the title role in RIGOLETTO, reprising the character with Knoxville Opera in February 2009. In April 2009, he appeared with Teatro Grattacielo at Lincoln Center’s Avery Fisher Hall in the role of Il Capitano in Mascagni’s IL PICCOLO MARAT. Most recently Mr. Martínez performed the role of Enrico with Knoxville Opera, followed by RIGOLETTO in Baltimore to outstanding acclaim.
J. ERNEST GREEN (CONDUCTOR): Mr. Green Cover Conductor with the National Symphony Orchestra at the Kennedy Center for the Performing Arts, where he recently conducted a weekend of three Pops concerts. He has worked with such artists as Metropolitan Opera star Denyce Graves, Sir James Galway, Pinchas Zuckerman, Stanislaw Skrowaczewski. He regularly works with and conducts for Marvin Hamlisch, most recently with the Philadelphia Orchestra.
He is also the Artistic Director of Live Arts Maryland and the Music Director of the Annapolis Chamber Orchestra and Annapolis Chorale. From 1995-98, he was the Principal Guest Conductor of the Boston Aria Guild and has served as the Conductor for the Teatro Lirico d’Europa in Paris. Mr. Green was the Music Director for the Young Victorian Theatre Company from 1985-2008. He made his Carnegie Hall debut in 1993 and in 1986 made his international debut conducting performances with the Fundacão Orquestra Sinfonica de Brazil, Associacão Opera de Brasilia, and the Orquestra Jovem de Brasilia. From 2004-2007, Mr. Green served as the Music Director of the Mozart Festival Opera in the USA where he lead productions of “Don Giovanni” “Le Nozze di Figaro,” and “The Magic Flute,” and has conducted numerous performance s of “La Traviata” and Rossini’s “The Barber of Seville.” for Teatro Lirico D'Europa on their European tours. Known for his adventurous and creative programming as he pushes the boundaries of the concert hall, Mr. Green has created several “fusion” programs combining standard concert repertoire with popular and contemporary which he has lead with orchestras both here and abroad. In addition, he has received acclaim for his concert productions of operas and other stage works, among them Verdi’s “La Traviata,” “Sweeney Todd,” and, most recently, Rodgers and Hammerstein’s “South Pacific.” He has also been engaged to develop similar programs for other orchestras. Mr. Green is currently working on a new concert production of “Don Giovanni,” which will premiere in 2010. Referring to his creativity and innovation in and beyond the concert hall, The Baltimore Sun recently said, “Green should be commended for his downright prodigious programming.” J. Ernest Green has appeared with many orchestras including: The Philadelphia Orchestra with Marvin Hamlisch, The National Symphony Orchestra with Denyce Graves for the National Martin Luther King Day concert at the Kennedy Center, The Florida Orchestra, Cumberland Valley Chamber Orchestra, Annapolis Symphony, the Sophia Symphony and Varna Symphony (Bulgaria), Calgary Philharmonic Orchestra, Lincoln Symphony, Orquestra Sinfonica Nacional (Santo Domingo), Mesa Symphony, Cumberland Valley Chamber Players and the Trinity Chamber Orchestra (Cleveland). He has toured with the Ballet Arabesque (Bulgaria) the Ballet Theatre of Maryland, Mozart Festival Opera and the Teatro Lirico d’Europa. Mr. Green’s opera credits include the Hawaii Opera Theatre, Teatro Lirico d’Europa, Boston Aria Guild, Indiana Opera North, Associacão Opera de Brasilia, Boston Academy of Music and the Young Victorian Theatre Company.
In addition to his musical activities, Mr. Green is an avid advocate for the arts. He is an active fundraiser for his own company as well as other community organizations. He has served as a music panelist for the Maryland State Arts Council and was recently appointed to serve on its Strategic Planning Committee.
Mr. Green is married to Molly Moore Green. They have two children.
GIORGIO LALOV (Artistic Director/Stage Director/Set, Costumes):
Gueorgui (Giorgio) Lalov was born in Telesh, Bulgaria in June 1958. His father, “Lalo,” a doctor, and his mother, Stoiyanka, an elementary school teacher and Bulgarian folk singer, were educated patrons of the arts. When Lalo Lalov died, Giorgio was only nine years old, but because he was an excellent student, he entered an elite boarding school in the capital city of Bulgaria that taught all lessons in French. When he graduated from high school in 1976, he was fluent in French and English. That fall he entered the Bulgarian National Academy of Music and went on tour throughout Italy with a choir from the university. While in Milan, he auditioned for the famous International School for Young Opera Singers at La Scala, was accepted and went on to make his operatic debut at La Scala at the age of 25.
After living in Italy for a short time, Mr. Lalov became fluent in Italian. In 1986, while on tour with an opera company in France, he met Yves Josse, a former ballet dancer who was booking opera and ballet tours. They became business partners. Mr. Lalov had many resources: He spoke several languages, was able organize the creation of sets and costumes in Bulgaria and put together an excellent orchestra and chorus. He also knew many fine opera singers in Bulgaria, central Europe and the United States.
By 1988, Messrs. Josse and Lalov were collaborating on what was to become the most successful opera touring company in Europe. At the time of Mr. Josse’s death in 1995, Teatro Lirico presented over 250 performances a season throughout Europe at 180 different venues. These included performances for Opera Dijon and at other major European theatres, such Palais des Festival, (Biarritz), Théâtre Alexandre Dumas and Pavillon Baltard, (Region Paris), Théâtre de Grenoble, Théâtre Molière, (Sete), Théâtre Municipal, (St. Maur des Fosses), Théâtre de Cognac, Théâtre Municipal Armand, (Salon de Provence), Salle Pleyel, (Paris), Scene Nationale, (Cherbourg), Odyssud, (Blagnac), La Scene Municipal (Lyon) and Quartz, (Brest) in France.
Teatro Lirico performance also include those presented at l’Atrium Theatre in Martinique, Théâtre du Grand Casino (Geneve), Congresshaus, (Zurich) and Théâtre de BeauLiùe (Lausanne) in Switzerland, Théâtre Municipal (Hasselt) and Le Cirque Royale (Brussels) in Belgium. City Hall (Gotingen) and Théâtre Carre (Amsterdam) in Holland hosted other performances. Teatro also performed at Theatre Margharita, (Trapani) in Sicily, at Italian Summer Festivals such as Festival Busetto, Festival San Giovanne Valdarn, and open-air festival in such cities in Italy as Spello, Montecatini Terme, Siena., Chianciano Terme, Cortona, Aenzzo, Padova and Aimini.
Shows were also presented for Okinawa Performing Arts Center in Japan, Tivoli Gardens (Copenhagen), in Denmark, Forum Cultural Do Seixal, (Lisboa) Academia Almadense, (Lisboa), and Theatre Trinidade, (Lisboa) in Portugal, Kuppelsaal, (Hanover), Gurzenith, (Koln), CCH-I, (Hamburg,), MUK, (Lubeck), Liederhalle, (Stuttgart), Schwarzwaldhalle (Karlsruhe), and Rosengarten, (Mannheim) in Germany.
In Spain, the venerable opera company also performed at Teatro Principal, (Alicante) Teatro Municipal Cervantes (Alicante), Teatro Del Carmen, (Malaga) Palacio de Congresos. (Granada), Teatro Municipal Enrique de la Cuevca, (Seville), Teatro Atlantida VIC, (Barcelona) Salida de La Compania, (Madrid) Auditorio Ferai de Muestras (Valladolid), Gran Teatro de Burgos, Teatro Juan Bravo (Segovia), Auditorio Municpal Maestro Padillain (Almeria) Gran Teatro Galla (Cadiz), Teatro Monumental (Barcelona) Teatro Principal (Zaragoza) Teatro Cervantes, (Madrid), Teatro Victoria Eugeniain, (San Sebastian), Teatro Vicente Espinel, (Malaga), Teatro Bueno Vallejo (Madrid) Teatro Cervantes (Malaga) and Teatro “Lope de Vega ” (Sevilla).
In 1990, Mr. Lalov established the Sofia Symphony Orchestra and Chorus. Winter 2000 marked Teatro’s Lirico D’Europa’s first major American tour. The reviews from the 11 consecutive tours which include over 500 performances of full scale opera presented at 107 different theatres, (including many performances for 9 regional opera companies) speaks for the high quality and consistency of the company. The fact that the company is able to tour with many different productions is an indication of Mr. Lalov’s hard work, excellent organizational skills and unfailing dedication to the art of opera. For his performances in the USA, Mr. Lalov has engaged soloists from Opera Bolshoi, the Mariinsky Theatre, Ukrainian National Opera, Lithuanian National Opera, the Prague State Opera, Sofia National Opera, the Metropolitan Opera, the New York City Opera, the National Operas of Cuba, Puerto Rico and Mexico, and American soloists who have performed both nationally and internationally. In spring 2009, the impresario became the artistic director of Baltimore Opera Theatre.
“I’m not alone in hoping that Giorgio Lalov, the talented opera singer turned creator of Teatro Lirico D’Europa stays happy and healthy and continues to bring us such magnificent productions. We can only hope to see more from this company in years to come.”
Illinois Times – Ann Kerr
A party is being given at the house of the city’s most beautiful and adored courtesan, Violetta Valéry. She greets her guests, among them Flora Bervoix, the Marquis D’Obigny, Baron Douphol and Doctor Grenvil. Gastone introduces Alfredo Germont to Violetta, and the young man tells Violetta that he admires her and thinks of her constantly. Gastone proposes a toast, and Alfredo responds with a drinking song. When the guests move into the ballroom to dance, Violetta feels indisposed and begs her guests to go on without her. Alfredo remains behind and declares how much he loves her. She tells him she can only offer friendship. She gives him a flower, asking him to return when it has faded. Alone, she thinks about Alfredo, but resolves to enjoy herself and her whirlwind lifestyle.
Alfredo and Violetta have been living together in the country for three months, when Alfredo learns from Annina that Violetta has been selling her possessions to support them. Disgraced, he rushes off to Paris to get money. Alfredo’s father, Giorgio Germont, surprises Violetta with a visit and requests that she leave Alfredo, because his sister may have trouble marrying if her brother is linked to a courtesan. Violetta confesses that Alfredo’s love has redeemed her, and that she is very sick and might not live long. Germont is unmoved and insists on a definite separation. Violetta finally agrees to make the sacrifice and only begs that, after she dies, Alfredo should know the reason she left him. She writes a letter and, when Alfredo returns, says good-bye. He assumes she will only be gone for a short while, but a messenger delivers the letter announcing that she has returned to her former lover. Alfredo’s father tries to comfort his son, but to no avail.
Violetta’s friend Flora is hosting a party. Alfredo’s arrival startles the guests, but his disinterest in Violetta garners approval. He joins a game of cards as Violetta and her lover, Baron Douphol, enter. The Baron challenges Alfredo and promptly loses. The guests disperse when dinner is announced. Violetta returns to warn Alfredo that his life is in danger and that he should leave the party. He agrees to go only if she follows him. Remembering her oath to his father, Violetta refuses and, furious, Alfredo calls the guests to witness that he has paid her back for their time together. His father arrives and denounces his son for such shameful behavior, and Douphol vows to avenge Violetta.
Violetta lies on her deathbed, knowing she will not live much longer. She reads a letter from Alfredo’s father, relating how Alfredo fled the country after wounding Douphol in a duel, but promising that he will return to seek her pardon. When Alfredo enters the bedroom, the two reunite joyfully and dream of living in Paris, but Violetta collapses. Alfredo’s father arrives and asks forgiveness for the pain he has caused the lovers. Violetta presses a miniature portrait of herself into Alfredo’s hands, telling him to give it to the pure bride whom he will marry one day. Violetta suddenly feels that her pains have ceased and that she is coming back to life. But it is too lateÉ she dies in Alfredo’s arms.
by Mary Jane Phillips-Matz
Giuseppe Verdi was born in 1813 in the living quarters over his parents’ little village tavern in Italy’s Po River valley. In spite of their modest circumstances, his parents gave him a solid classical education, and, after realizing that he had a great gift for music, they added private lessons in that field as well. When Verdi was 18, he went to Milan for further study, but he later returned to Busseto, the market town near his birthplace. There he married his patron’s daughter, but she and their two children soon died, leaving him a stricken young widower in 1840.
Verdi’s first opera had been given in 1839 at La Scala, one of the world’s greatest opera houses, and it was followed three years later by his Nabucco, a hit on the national and international scene. As Verdi said, “After Nabucco I never had to look for work again.” In the course of a career that lasted more than 50 years, he wrote 28 operas, gained worldwide fame, and became rich.
He also had a sterling record as a patriot in the long struggle for the unification of Italy, so several of his early operas had Italian patriotic themes. His people elected him to public office twice, first in 1859 as a Deputy to the Parma Legislature and then two years later to the First Parliament of Italy. His other principal interests were philanthropy and his farm, a huge estate near the Po. Verdi lived to be almost 87 and died in 1901.
Many of his early works are set in long-ago eras. Their main characters are kings, queens, and powerful nobles, but after 1849, the composer changed course and wrote Stiffelio (1850) and La Traviata (1853), two intensely personal operas based on recent real events. Both are about “fallen women” of his time. Lina, the leading soprano in Stiffelio, is the adulterous wife of a German Protestant minister who, according to tradition, lived in the early 1800s. Violetta in La Traviata is based on the life of a real and notorious French courtesan who had died in the 1840s.
The “original” behind Violetta was Marguerite Gautier, whose story had been told by Alexandre Dumas fils, one of her lovers, in a novel and a play called La Dame aux Camélias. Living in Italy when he did, Verdi showed enormous courage in writing about a disgraced woman who was more or less his contemporary. And it was natural that when people learned about his plans for La Traviata, many considered it scandalous. Felice Varesi, a very famous baritone, was outraged because “the main character is a kept woman or common whore of our own time who died in Paris not very long ago.” In another letter, Varesi called Violetta “this unhappy prostitute.” Verdi, however, was not discouraged. In fact, he went right ahead, pouring compassion and humanity into his portrayal of her and showing how brutally and hypocritically “proper society” treated her.
As we look back on La Traviata, we may see it through the lens of Verdi’s private life, for when he decided to write it, he had been living for about three years with someone whom many people considered a “fallen woman.” This was the celebrated soprano Giuseppina Strepponi (1815-1897), who had a distinguished career but had lived a scandal-ridden personal life, having had three (or even four) illegitimate children by two or three different fathers. Hard up for cash, Strepponi sang right to the end of every pregnancy, with one of her children being born in Florence only a few hours after she finished a performance! Although she abandoned her children in orphanages or placed them with foster parents, everyone who knew about opera remembered these events.
Verdi originally met Strepponi in Milan, probably in 1839 at La Scala. Three years later, she sang the leading soprano role in Nabucco there and was partly responsible for getting it produced. In 1847, after she retired from the stage, she and Verdi began living together in Paris. There no one cared about their personal lives, but in 1849 they foolishly and recklessly returned to Busseto, the small town where Verdi had been educated on scholarships, had married his patron’s daughter, and had worked as the municipal music teacher. The townspeople of Busseto honestly believed they had “made Verdi,” and they were simply enraged at seeing him and his mistress living together in a mansion on the main street.
Nearly two years of uproar followed their return, with people throwing rocks at Verdi’s windows and shouting obscenities at him and Strepponi from the sidewalk below. People also crossed the street to avoid her and moved away from her in church, and one neighbor even called the police, saying that a lot of noise was coming from Verdi’s courtyard. Infuriated at such harassment, Verdi and Strepponi moved to a nearby farm that he owned; they lived there until their deaths.
Given these facts, many see a personal association between Verdi’s life and his decision to write about Violetta and La Traviata. Others, though, see no connection, and the matter remains unresolved. What is certain is that Verdi once said that when he sat at his piano writing music, his heart pounded and his tears fell on the keyboard. Seeing how much passion he poured into La Traviata, we can easily believe him.
Sold Out La Traviata at New Jersey Perf. Arts Ct.
The New Jersey Perf. Arts Center is a facility in a diversely populated area where opera is a family affair. Some attendees took advantage of the early curtain and brought their children to this SOLD OUT performance. LA TRAVIATA is a unique opera that needs a singer with true star quality. Ukrainian soprano, Marina Viskvorkina filled the bill to perfection. A slim, attractive blonde who sings at the Prague State Opera and has performed this role at the Vienna State Opera, Viskvorkina has the necessary appearance of fragility for this heroine. Her voice however, is robust and she had the precise coloratura for Act I. She lit up the stage and made the world of the 19th Century courtesan, come alive. Valentine Topencharov designed the effective, practical scenery and the costumes, unusually ornate for a touring production. Alfredo was sung by Russian tenor, Evgeni Akimov who also appears with the Mariinsky Theatre, the Metropolitan Opera and Covent Garden. He was a carefree playboy with a rich even voice and sang with warmth and virility. Vladimir Samsonov was a properly bourgeois Germont with ringing top tones. Casting bass Viacheslav Pochapsky of Opera Bolshoi as Dr. Grenville was a true luxury. Conductor Topolov drew a balanced, expansively romantic reading of the score from the Sofia Symphony. At the end of the evening the audience responded with a standing ovation for all the artists involved in this fine performance.
MUSIC AND VISION DAILY – March 2006
‘Strayed Woman' – High Drama Parisian Story Thrills GSU Crowd!
UNIVERSITY PARK: The craftsmanship of Teatro Lirico D'Europa and the flawless conducting of Metodi Matakiev generated enough heat Sunday afternoon inside the Center for the Perf. Arts to temper the wind chill outside. Attendees at Governor's State University 's SOLD OUT matinee were treated to a lush spectacle of 19th century drama that dazzled the ear and eye. Soprano, Melody Alesi (Violetta) delivered a particularly notable performance, soaring in sustained flights in this melodic and romantic opera.
DAILY JOURNAL – Dennis Sullivan – Feb. 2004
LA TRAVIATA Enthralled Sold-out GSU!
Governors' State University hit a home run Sunday afternoon with a stunning performance of LA TRAVIATA before an enthusiastic SOLD- OUT house. The return of Teatro Lirico D'Europa can be seen as nothing short of a triumph. It was also an affirmation of the Pasquinelli Family Foundation's support, and the chance it took on bringing the opera to the Southland. Reid's statement "They will be back with LA BOHEME in 2005 received applause even before the curtain went up on the current production. Most impressive was Melody Alesi, who presented the torn personality of Violetta. Violetta's lover, Alfredo, played by John Fowler, sang with conviction and stamina. Valery Ivanov was most convincing as Alfredo's father and his rich baritone filled the hall. Act II brought the opera to a dramatic peak as the sound of the chorus rated first class and the dances by the gypsy princess and matador were fun and enthusiastic. This was a great performance. It's hard to believe that this opera company had just spent 5 days in 5 different cities performing 4 different operas! This critic doesn't know how they keep up their strength and enthusiasm, and can't wait to see them again next year.
THE STAR (Chicago Heights) – D. K. Luksetich – Feb. 2004
COMPANY SHOWS ITS TALENTS WITH LA TRAVIATA
PCA Great Performances has brought productions by Teatro Lirico d'Europa to the stage of Merrill Auditorium many times, but they never cease to amaze. Wednesday night's performance of Verdi's ''La Traviata'' was no exception. It had fine singing, a live orchestra, a versatile unitary stage setting, good costumes and even a first-rate ballet in Act Two, Scene Two.
That a small central-European traveling company can put on such a performance night after night, after bus rides on icy roads, is quite incredible. Audience members may have come to expose their children to live grand opera, but they stayed to be moved by the music and drama, even those who had seen ''La Traviata'' many times.
Bulgarian soprano Snejana Dramcheva substituted in the role of Violetta, and in the best theater tradition, triumphed. She was so overjoyed at the rousing standing ovation that greeted the end of the opera that it was hard to believe she had just died of consumption -- in a very well-acted deathbed scene.
Her voice seemed tentative in Act One, but it soon became obvious that she was using it in the interest of the drama, varying between a perfectly clear pianissimo and a powerful forte. Dramcheva is also an excellent actress, making the tragic scenes, so easy to over-dramatize, quite believable. At the end of Act Three, there wasn't a dry eye in the house.
She was well seconded by tenor Orin Goranov in the role of Alfredo. He was thoroughly convincing in his alternation between tenderness and tightly controlled rage.
He was perhaps a bit upstaged by baritone Theodore Lambrino, playing Alfredo's misguided father, Germont, but that may be because Verdi gives Germont one of the best arias in opera, ''Di Provenza il mar.'' His and Violetta's long-distance (from opposing sides of the stage) duets were also marvelous.
Another striking feature of the company is the talent of singers in secondary roles. Viara Zhelezova as Violetta's friend Flora, and Hristo Srafov as Baron Douphol, with whom Alfredo duels over Violetta's affections, were outstanding.
I particularly liked basso Plamen Dimitrov, who enters at the last minute as Dr. Greenville, like a 19th-century Dr. Kevorkian, or a stork (which presages a death in the family). And the gypsy dancers were lithe, fiery and appropriate to the Alexandre Dumas' (the son) tale of forbidden love.
Artistic director Giorgio Lalov is responsible for many telling small touches in the staging, such as Alfredo's luck at cards, which means that he will be unlucky in love, or the gypsy's fortune telling, which sets the permissive atmosphere of the party at Flora's.
Lastly, the orchestra, under conductor Krassimir Topolov, produced a sound that many larger ensembles would envy.
PORTLAND PRESS HERALD – Christopher Hyde – March 2008
A VIOLETTA TO DIE FOR
Marina Viskvorkina’s Violetta would satisfy the most demanding audience of any great opera house
Teatro Lirico was back for its second weekend this year, and in Verdi’s LA TRAVIATA, Ukranian soprano Marina Viskvorkina gave an extraordinary performance as the consumptive courtesan Violetta Valery. Viskvorkina’s got just about everything: she’s a voluptuous blonde with a big, creamy voice of pinpoint accuracy, and she can act. She began by depicting a very flirtatious Violetta. Her performance became increasingly inward and moving, conveying real dignity as Violetta confronts Alfredo’s father who wants her to give up his son. But it was in the last act that Viskvorkina ascended to tragic stature. She’s one of the rare Violettas who sings the notes yet still convinces you that she physically failing and feverish. And she is heartbreaking. Her performance would satisfy the most demanding audience of any great opera house.
BOSTON PHOENIX – Lloyd Schwartz – March 2008
Boston TRAVIATA
Where Teatro Lirico D'Europa's, "La Traviata," is concerned there is only one way to describe it: "You look Marvelous"!“Sunday afternoon's performance of Verdi's "La Traviata," performed by Teatro Lirico D'Europa, at Emerson's Cutler Majestic in Boston, was one of the company's most moving and flawless productions. It oozed emotion and sentimentality and boasted wonderfully colorful sets, expert use of lighting, sumptuous costumes, a powerhouse cast, and effective and evocative orchestration conducted by Maestro Krassimir Topolov - and this isn't my view alone. During intermission I spoke with a friend who recently retired from the Boston Symphony Orchestra, and he observed that in his opinion this performance was "near flawless." And it was.
This was one of those productions that came together and kept rising as the story of Violetta and Alfredo's lives unfolded. Much of the credit has to go to some pretty strong vocal performances by four leads: the gorgeous and vocally gifted soprano Marina Viskvorkina, who sang the role of Violetta, baritone Plamen Dimitrov, who sang the role of Giorgio Germont, the gifted and always dependable baritone Hristo Sarafov, and tenor Gabriel Gonzalez.
The audience loved this performance and for good reason. The stage direction by Giorgio Lalov was right on mark and every technical and visual queue was timed perfectly. A "tip-of-the hat" must also be given to the wonderful chorus of this company. It shone and performed magnificently as did the ballet dancers that performed in each of the two previous weekend shows I attended: "The Merry Widow," and "La Traviata."
I rave when I see a particularly strong performance and this production of "La Traviata" falls into that congratulatory category. As comedian Billy Crystal used to say when he played the actor Fernando Lamas on Saturday Night Live: "You look marvelous." Well, for this production of Verdi's "La Traviata," I say: "You looked Marvelous" Sunday afternoon, keep it up!”
OperaOnline.us – Paul Joseph Walkowski – Mar. 2008
Year in Classical- Celebrate
Operas to Treasure…The touring Teatro Lirico d'Europa brought a satisfying La Traviata, with glamorous Ukrainian soprano Marina Viskvorkina as Verdi's tubercular courtesan.
BOSTON PHOENIX – Lloyd Schwartz – December 22, 2008