La Traviata (Opera Up Close- Bristol Tobacco Factory)

It was only going to be a matter of time before opera realised what those in the theatre discovered many years before. That by making actors and audiences share in the intimacies of studio spacess the most thrilling productions will result. Since Opera Up Close were formed in 2009 with their La Boheme competing and beating the glitz and glamour of ROH and ENO for the Olivier for Best Opera Production, they have continued to follow the policy of putting on the classics on a shoestring. La Traviata is a glorious reminder of just how well it works.

Setting Verdi’s tale in the 1920’s Gatsby esque- America of prohibition and flappers Robin Norton-Hale's efficient production makes sense of the fall from grace of social mistress Violetta as she meets and falls in love with Alfredo, is made to part from him by the young mans father, before finally being reunited with him as the consumption that has afflicted her throughout finally brings her to her knees.

The demands of fringe economics means only five singers perform with a three piece trio providing the music. In Norton-Hale’s own breezy translation the most impressive thing is the narrative structure feels mainly untouched. If the set reminds us of the shoestring budget this production has (the walls were shaking like Prisoner Cell Block H sets and at one point the set almost came crashing down bringing an audible gasp from the audience) in the central performance of Louisa Tee, we witnessed a performance far from budget, more one sculpted in fine gold.

If it was a joy to listen to her soprano reverberate through the space, light and airy in joy, taking on darker tones in despair, just as impressive was the forensic high definition acting the small space allowed us to glimpse. There was a truthfulness and openness that one rarely finds on the larger stages; aside from a questionable pink outfit in the first scene that one imagines wouldn’t have graced many social gatherings, a better interpretation won’t be seen at the Met or Opera House for many years to come. One normally watches these small scale shows hoping to find a star for the future. In Louisa Tee we already have one!

She inevitably steals all the glory but there are other impressive performances. David Durham is a strong presence as Germont, the Act Two confrontation between him and Violetta most movingly played and vocally the highlight of the evening. Zarah Hible also makes an impactful turn as Flora, both vocally and with her fine, long features, her Louise Brook's esque fringe making her resemble a movie star comedienne out of 1920’s casting. Lawrence Olsworth-Peter is a little bland as Alfredo, vocally he only really begins to make a mark in the final scene and the interpretation of the character here makes Alfredo a little dull. With the glories of Violetta on display across the stage, in this production he definitely doesn’t deserve her.

For opera novices and aficionados alike there is plenty to get to grips with in this La Traviata. Most of all though, what it will be remembered for most is the glorious Miss Tee getting the chance to reach for the stars and grabbing it with both hands.