Photos by Khalid al Busaidi A full house welcomed Plácido Domingo to the Royal Opera House Muscat, where Giuseppe Verdi’s “La Traviata” was performed for the third time. Following successful productions in 2018 and 2022, this staging was presented by the Orchestra and Chorus of Teatro Carlo Felice di Genova, offering a vibrant interpretation of Verdi’s 1853 opera.
Based on Alexandre Dumas’ novel “La Dame aux Camélias”, the opera explores deep themes of love, morality, sacrifice, and societal judgement. Set in 19th-century Paris, it depicts the tragic life of Violetta, a courtesan suffering from tuberculosis — a deadly, contagious disease that echoes Mimi’s fate in Puccini’s “La Bohème”. At its core, the story examines love’s resilience amidst social pressure and the personal cost of sacrifice.
The performance began with a stirring Overture, conducted by Maestro Domingo, highlighting memorable string melodies. The curtain rose on an ornate garden scene designed by Giovanni Agostinucci, set in 1847. Violetta, the Parisian socialite, dazzled in a white gown adorned with jewellery as she hosted a lively party. The chorus of fifty singers and the 75-piece orchestra created a rich, vivid atmosphere — resembling a grand ball filled with vitality and sophistication.
Violetta’s character demands significant dramatic range, from flirtatiousness to poignant tragedy. Armenian soprano Juliana Grigoryan portrayed her masterfully, capturing both vocal finesse and emotional depth. Opposite her was Azerbaijani tenor Yusif Eyvazov as Alfredo. Their chemistry was palpable, especially during “Un dì, felice, eterea”, where Eyvazov’s warm tone and lyrical delivery conveyed Alfredo’s love passionately. His spectacular unaccompanied cadenza at the end of the duet left the audience enthralled.
Violetta’s “Sempre Libera” showcased Grigoryan’s impressive upper register and her ability to convey inner conflict. Her soaring colouratura and repeated high Cs marked a powerful moment, as her character dreams of freedom yet remains committed to love.
Act 2 opens in Violetta’s country estate, with plush Louis IV decor. Alfredo’s father, Germont — a moving presence played convincingly by Caner Akgün — enters to persuade Violetta to abandon Alfredo, claiming her corruption damages their family’s honour. Akgün’s emotional performance of “Pura siccome un angelo” was particularly compelling. Marta Ornelas’s understated direction heightened the intimacy of the scene. Violetta pours her heart out about her love and impending death from tuberculosis. The act concludes with a striking a cappella coda, as she and Germont draw closer without touching, conveying complex emotion.
Later, Violetta writes a farewell letter and calls Alfredo “Amami”, pleading for love before rushing off stage. Germont then persuades Alfredo to return home via “Di Provenza il mar, il suol”, performed with paternal tenderness by Akgün.
Scene 2 at Flora’s salon is a dazzling highlight, bathed in red tones. Gypsy dancers from Antonio Gades’ company perform a captivating dance, miming a bullfight with flamenco flair. Violetta arrives in a black sparkly dress and joins a card game with Alfredo — who wins repeatedly — and Baron Douphol, sung with charisma by Omar Kamata. Tensions rise when Alfredo insults Violetta; Germont intervenes to rebuke Alfredo, stressing the importance of honour.
The climax occurs in Act 3, set in Violetta’s sombre green bedroom where she lies dying. Dr Grenvil (Dario Russo) offers grave comfort, while Violetta reads a farewell letter from Germont. Her haunting rendition of “Addio del Passato” is a poignant farewell. Alfredo arrives, and they sing “Parigi o cara”, dreaming of future happiness. The act ends with a quintet, culminating in Violetta’s death accompanied by a mysterious violin theme from the first act, leaving the audience moved.
The curtain call featured soloists and Domingo himself, who performed a ten-minute encore. Rumour has it he will return to Royal Opera House Muscat with the International Operalia Festival in 2027 — an event worth waiting for.
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