Pacific Opera Victoria’s latest offering of La traviata is a slightly modernized version taking place in the 1920s with Violetta making her entrance as a showgirl in a Folies Bergères-style plumed headdress and beaded dress. The whole production has fantastic elements in costumes and sets, including lavish speakeasy parties, cocktail waitresses in scandalous outfits, and the occasional Marlene Dietrich-like woman in drag. The setting lends itself well to the show, to contrast the wild party lifestyle of Violetta in stark contrast to her illness, and her life in the country.

The sets and costumes were lavish and beautiful. The costumes were detailed and extravagant, and the elaborate set worked splendidly as the party ballroom/boudoir, the country manor, and Violetta’s deathbed.

Soprano Lucia Cesaroni as Violetta was vocally brilliant, showing in Act 1 how the vivacious attitude of Violetta is all slightly fake, the smile a little too wide, and that she hiding behind the social facade. Cesaroni’s coloratura in “Sempre libera” was beautiful and sparkling, bringing polish to an incredibly challenging role.

Alfredo was brilliantly portrayed by tenor Colin Ainsworth. Vocally flawless with effortless high notes, his character was sweet and sincere in his pursuit of Violetta, and his banked rage when he thinks he’s been betrayed was palpable and terrifying. When he finally learns of his mistake and is confronted by his father, his grief is absolutely heartbreaking.

POV’s Traviata was a delight for the senses, and full of heartfelt emotions, beautiful sets, costumes, love, heartbreak, and hope.

Bass-baritone Peter Monaghan was a standout in the role of Marchese d’Obigny. With a rich, sonorous bass, his performance was funny when being accused of infidelity, and was a pleasure to listen to. Bass-baritone Alexandre Sylvestre as Baron Douphol was the perfect foil to Ainsworth’s Alfredo. Cruel and thoughtless in his casual possession of Violetta, he was vocally strong and clear, egging on Alfredo’s rage into the inevitable confrontation.

The POV chorus deserves a huge shoutout for this production, the chorus numbers were incredibly precise, blended perfectly, and the choreography in the large number of dance routines they were given was brilliant. From the bullfights, to drunkenly stumbling across the stage in various states of undress, they were a constant source of fun and endlessly entertaining.

POV’s Traviata was a delight for the senses, and full of heartfelt emotions, beautiful sets, costumes, love, heartbreak, and hope.