Happy with unhappiness

This is the time of year when the Royal Opera aims to keep people happy by providing standard fare, usually, it almost goes without saying, about people who are very unhappy indeed. True to form, it is alternating La Traviata and Turandot for almost a month before rising to Mozart. All the more important that these perennials should be kept fresh, and on the whole they are. There are quite a lot of odd things about both productions, especially from the musical standpoint, but no signs of inert reliance on routine.

In Traviata the most controversial thing is the conducting of Maurizio Benini, now a Royal Opera favourite, though some people find that strange. He launches the prelude with extreme quietness and pretty slowly, which I found effective. After that, he favours wide fluctuations of tempo, not always it seemed with complete agreement from the singers. The impression tended to be of languor rather than vigour, but that suits the subject. The three leading roles are shared between six singers during the run, but not in a straightforward way. I saw Norah Amsellem in the title role, and found her convincing, superb to look at, generally good to hear. Violetta is a role that needs big guns at crucial places, and what Amsellem can offer is more intensity than volume, but that is perhaps the majority tradition, and it works. Her acting is adequate, and she has the advantage of looking the part, or of looking like pictures of prima donnas who sang the role in its early years.

She was partnered by Joseph Calleja the night I went. This Maltese tenor has created a big splash with his debut disc, and he has an individual and quite appealing voice, but little stage presence.