Audience, stage leave 1st impressions at ‘La Traviata’

Katherine Hagan is a sophomore majoring in journalism.

Bad outfits but classic costumes, poorly planned seating but stunning set design, appalling behavior but masterful music – all in all, the opening night of the opera “La Traviata” on Friday was, simply put, a night of first impressions.

When “La Traviata” premiered in Venice in 1853, the audience laughed when Violetta was dying of consumption. Of course, the overweight Fanny Donatelli Salvini did not accurately represent the feeble Violetta. Needless to say, the disrespectful first impression the audience presented left a bitter taste in Verdi’s mouth.

Why did I tell you that story? To tell you this one.

At IU Opera Theater’s opening night of this same show, the audience did not show the proper respect, in general, to the people involved in the production.

My first impression of my fellow college-age patrons was that of the oblivious and discourteous members who formed to drown out Opera Insights on the first mezzanine level. The ushers failed to issue any warnings to the booming voices of the young crowd, and by the end of Insights, I heard nothing; I learned nothing.

The general admission seating might have had something to do with this problem, but it most certainly contributed to this inexcusable behavior exhibited by many of the younger audience members.

Able-bodied 20-somethings were pushing around slow-footed 60-somethings to snatch up seats. Need I say more?

Another of this younger group’s terrible first impression was its opera attire, or lack thereof. I saw anything from ratty jeans and T-shirts to skimpy, cleavage-revealing party dresses.

The most appalling, yet expected, behavior of one of these tacky-dressed individuals was when one kicked his feet up on the railing of the box seats he and his buddies nabbed right from underneath an older couple. Classy.

Despite the regrettable impressions of the young audience, the IU Opera Theater, including the set designers, cast and orchestra, left a lasting first impression.

First, the set was lined with mirrors creating depth, and the craftsmanship of the fountain and luxurious rooms was quality. It truly showed the wealth and luxury of Violetta’s lifestyle. Also, the sheer, blue fabric curtain gave the impression that nothing is truly hidden, including the risque past of Violetta, played by Jung Nan Yoon.
Yoon’s performance was outstanding, despite a rocky start to the show where she struggled to project over the orchestra. Although Yoon can belt and embellish with the best of them, her gentle, clarion style of singing certain passages was perfect.

By the end of one of Violetta’s last arias, “Addio del passato,” the audience was silent and in awe of Yoon’s performance of the song. Conductor David Effron had to tap the daylights out of his music stand before the audience snapped to and gave Yoon the applause she deserved.

Violetta’s love interest, Alfredo Germont, played by Joshua Whitener, also gave a strong performance worthy of heartthrob status. The timbre of his voice is uniquely warm and youthful, and it fit well for the role. Whitener valiantly hit and held his high C at the end of Alfredo’s aria, which included the cabaletta (the second part of the aria, usually left out).

Giorgio Germont, played by Scott Harrison Hogsed, also sang superbly. Baritones do not usually impress me, but the power and projection of his voice accentuated Germont’s disposition.

In the end, stage director Tito Capobianco’s vision was successfully and beautifully executed by the “La Traviata” cast and crew. The audience finally got it right – despite however many etiquette lessons they may need – with a standing ovation lasting through four bows. Bravo.