La Traviata
Shubert Theatre, Boston Lyric Opera
by Giuseppe Verdi
directed by Chas Rader-Shieber, music director Arthur Fagen
lights Mike Inwood ,  costumes Jacob A. Climer, wigs make-up Jason Allen
for production rental, please contact [email protected]
MICHAEL WADE LEE* as Alfredo Germont
WESTON HURT as Giorgio Germont
with Jon Jurgens, Chelsea Basler,
David Kravitz, David Cushing,
David Wadden, Rachel Hauge and Omar Najmi
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BOSTON GLOBE                             OCTOBER 13, 2014
BLO offers a comfortable ‘La traviata’
By Jeffrey Gantz
Julia Noulin-Mérat’s BLO set does a lot with a little. Violetta’s Parisian salon in the first and last scenes is suggested by a floor-to-ceiling landscape painting in a heavy gilt frame and some simple wooden chairs. Scene 2, at Violetta and Alfredo’s country house, takes place on a raked grassy sward with picnic rug under a modest  spreading fruit tree. Scene 3, the party given by Violetta’s friend Flora, is a debauch; stage director Chas Rader-Shieber’s idea is that in Violetta’s absence the suave Parisian world she knew has devolved int licentiousnes but the execution is heavy-handed. The black backdrop for Violetta’s opening party doesn’t exactly create a festive atmosphere; in the last scene, however, the disappearance of the painting from its frame (she’s sold it to support the country house) is a nice touch.

Fyre, Fyre Burning Bright: LA TRAVIATA
by Kitty Drexel
There are also pretty stage pictures, thanks to the set design of Julia Noulin-Merat and, again, costume designer Climer.

BOSTON ARTS DIARY                    OCTOBER 19, 2014
La Traviata
With simple, but clever and appealing, sets (designed by Julia Noulin-Mérat), the BLO pulls off a compelling production in a way that more elaborate opera companies could never do, and the results are very congenial.
In this case, the first act is quite literally framed, at least partially, by a gilt edged painted masterpiece, and the design recapitulates in the last act quite convincingly. The party scenes are done cleverly, with a raked stage, a table, and a mass of chorus members gesticulating in one way or another, suggesting enormous activity. It work well.Though there are large party scenes it this opera, basically there are only three major roles: Violetta, Alfredo and Germont. The intimate setting of the BLO production work particularly well when this sort of small ensemble is the focus and gives a sense of closeness that other more grandiose productions sometimes lack.

Berkshire Fine Arts                             OCTOBER 13, 2014
La Traviatia at Boston Lyric Opera
By: David Bonetti
The sets and costumes were handsome, creating together beautiful and memorable stage pictures for each of the opera’s four scenes.It was perhaps the best production I’ve seen the BLO put on during the four years I’ve been covering opera in Boston for Berkshire Fine Arts.

the Hub Review,                                OCTOBER 16, 2014
Introverted Verdi from BLO
by Thomas Garvey
Designer Julia Noulin-Mérat is clearly a talent to watch, and has a way with strong, simple statements.  The glitter of the Act I party, for instance, was conveyed with a single, looming painting (in the designer's most striking coup, it disappeared from its frame after Violetta's ruin).  Likewise the heroine's country idyll was suggested by a solitary tree, the gaming table of the third act was a vast circle that 
all but spanned the stage, and the dressing gown of the heroine's final hours became an impossibly long shroud (above). Together, these strokes suggested an incipient loneliness that's actually quite appropriate t poor Violetta's plight - although very far from the gaudy stylings of the likes of Zeffirelli.