Director Franco Zefferelli, Stars Placido Domingo, Teresa Stratas, Cornell McNeil, Conductor James Levine and the Metropolitan Opera Orchestra, 1982 The forces behind this masterpiece are responsible for its greatness- Italian director and designer Franco Zefferelli, tenor Placido Domingo, soprano Teresa Stratas and baritone Cornell McNeil. The singers are at the top of their game, Domingo is a young, sexy Alfredo and Teresa Stratas IS Violetta Valery in a performance that even Maria Callas would envy. Zefferelli, who has long claimed he had a friendship with her and in truth he had been behind various opera productions of hers, had Maria Callas in mind when he cast Teresa Stratas. Like Callas, Stratas has a Greek background through her parents though she was Canadian born, has similar looks, has the same type of dramatic voice and she is in Zefferelli's own words "an electrifying actress and soprano of the lyric entertainment". The Callas connection is most obvious when Stratas appears in a black veiled gown in Act 2 at Flora's party where even her hair is similar to Callas' infamous 50's performances.
Released in 1982, Zefferelli sought to "convert" people into opera lovers through the lush visual seduction of the cinema. This is exactly what he did. The cinematography of this film kills you with excessive beauty. The opening credits roll as we see scenes of Paris in the Notre Dame Cathedral area and surrounding residential district by the Seine river. The interior of Violetta Valery's mansion, where she hosts the Act 1 party, is luxurious and Zefferelli allows us to be dizzied with the sheer opulence of the house- gilded mirrors, portraits of Violetta, curtains, chandeliers etc. Visually on film we are able to tell things about the characters that stage performances do not, for example as the guests depart from Act 1's party, an old woman steals a silver box from Violetta proving to us that Violetta is not among real friends, these are only fair-weathered friends and bad ones at that. They were not even there for her when she was dying in the finale. Also noteworthy is the cruel trick one has to catch on early on. Violetta and Alfredo are never reunited, as in the opera, but instead his return is a hallucination and she dies alone in her apartment.
The beginning of the film has Violetta reminiscing about the better days as a desirable and wealthy courtesan who partied all the time. She is deathly ill and already her house is sold and men are moving her things out. The country scenes are incredibly beautiful as Violetta and Alfredo live happily in seclusion. Alfredo rides his horse and Violetta picks flowers for her greenhouse and feeds her white doves in their big cage. Cornell McNeil's bombastic but fatherly Giorgio Germont is a great support to the refined performances of Domingo and Stratas. The Flora's party scene is exceptional with even more visual beauty as Gypsies and bullfighters dance seductively and professional gamblers enjoy themselves. The closing ensemble is not to be missed and neither is the melancholy and tragic ending. This is the greatest and ultimate version of La Traviata ever made. It is a must have for opera fans and for curious non-opera lovers.
Released in 1982, Zefferelli sought to "convert" people into opera lovers through the lush visual seduction of the cinema. This is exactly what he did. The cinematography of this film kills you with excessive beauty. The opening credits roll as we see scenes of Paris in the Notre Dame Cathedral area and surrounding residential district by the Seine river. The interior of Violetta Valery's mansion, where she hosts the Act 1 party, is luxurious and Zefferelli allows us to be dizzied with the sheer opulence of the house- gilded mirrors, portraits of Violetta, curtains, chandeliers etc. Visually on film we are able to tell things about the characters that stage performances do not, for example as the guests depart from Act 1's party, an old woman steals a silver box from Violetta proving to us that Violetta is not among real friends, these are only fair-weathered friends and bad ones at that. They were not even there for her when she was dying in the finale. Also noteworthy is the cruel trick one has to catch on early on. Violetta and Alfredo are never reunited, as in the opera, but instead his return is a hallucination and she dies alone in her apartment.
The beginning of the film has Violetta reminiscing about the better days as a desirable and wealthy courtesan who partied all the time. She is deathly ill and already her house is sold and men are moving her things out. The country scenes are incredibly beautiful as Violetta and Alfredo live happily in seclusion. Alfredo rides his horse and Violetta picks flowers for her greenhouse and feeds her white doves in their big cage. Cornell McNeil's bombastic but fatherly Giorgio Germont is a great support to the refined performances of Domingo and Stratas. The Flora's party scene is exceptional with even more visual beauty as Gypsies and bullfighters dance seductively and professional gamblers enjoy themselves. The closing ensemble is not to be missed and neither is the melancholy and tragic ending. This is the greatest and ultimate version of La Traviata ever made. It is a must have for opera fans and for curious non-opera lovers.