La Traviata

Whether San Francisco Opera General Director David Gockley intentionally saved opera's newest love couple, soprano Ailyn Perez (Violetta Valery) and her husband, tenor Stephen Costello (Alfredo Germont), for second-cast honors remains to be seen. But there's no question that Gockley hit it out of the ballpark on July 4 weekend by having Perez and Costello love and languish in front of 26,000 people longing for warmth in AT&T Park, and several thousand more sitting in rapt attention in the War Memorial Opera House.

Perez may not be a born coloratura, but her physical allure and ability to give body and soul over to Verdi's doomed heroine are so compelling that it's hard to take eyes off her. Despite a voice that was somewhat edgy in the first Act, and an interpretation that, especially in the final Act's heartbreaking letter-reading scene ("Addio del passato"), seemed far too derivative of two of her greatest predecessors, Claudia Muzio and Maria Callas, her pain was so palpable and her conviction so moving that her reprise of the role for San Francisco Opera confirms her artistic maturation.

Costello, in turn, may lack the essential vocal brilliance, ping, and freedom on top that mark an ideal Verdi tenor, but his ability to sing ardently and, at one point, hold his wife tight while kissing her on the lips for what seemed like seven seconds must have scored several home runs on the big screen. He would have been wise to have cut his Act I cabaletta, especially since he, like his wife, lacked the climactic high note that would have capped his labored performance. But when his Alfredo gazed upon Violetta with starry-eyed, puppy-dog innocence, it was possible to momentarily ignore the fact that, by singing Verdi, he may be pushing his voice beyond its natural limits.

The other major asset in SFO's quintessentially multicultural trio of leads was the arrival of baritone Quinn Kelsey as the tragedy-inducing father, Giorgio Germont. Instead of stolid Vladimir Stoyanov's one-dimensional voice and acting, the beauty and warmth of Kelsey's instrument, which soars with uncommon freedom on top, made for a far more believable paternal figure. The start of his great aria, "Di Provenza il mar, il suol chi dal cor ti can cello?" ("Who erased the sea, the land of Provence from your heart?"), may have been more than a bit routine, but the ardor and love he projected at its conclusion made his final emotional turnaround seem somewhat believable. Which is no easy task.

What SFO's second cast lacks is conducting on the level of Music Director Nicola Luisotti's. Yielding the baton on his opening night, Resident Conductor Giuseppe Finzi may have set apt tempos for his singers, but he was unable to inspire the excellent San Francisco Opera orchestra to bring out the sighing arches of tears and undercurrent of yearning that distinguished his gifted colleague's opening overture. His accompaniment to the aforementioned baritone aria also sounded dismayingly routine. Thankfully, the three principals were more than able to hold their own.

Some of my fellow critics found it difficult to stifle yawns at the sixth go-around of John Copley's 1987 production. I, however, find it quite effective. The red, orange, amber and browns of Flora's parlor are especially appealing, and David Walker's costumes are right on the mark.

Honors are also due several of the supporting performers. Current Adler Fellows gay baritone Hadleigh Adams (Marquis d'Obigny), soprano Erin Johnson (Annina), and the beautiful mezzo-soprano Zanda Svede (Flora Bervoix) have all deepened their portrayals, with Adams' voice and Johnson's sympathy notably impressive. Stunning dancer Timo Nunez gives Perez a run for the money in the looks department, and continues to inspire bravos and back-room fantasies. Pause to sigh.

Alas, only two performances remain, on July 11 at 8 p.m., and July 13 at 2 p.m. If you want to know why opera-lovers have spent the last 161 years sobbing over Violetta's demise, seize the time.

For tickets to San Francisco Opera's La Traviata, see sfopera.com or call (415) 861-3330