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Smaller roles are filled more than adequately and the Parma orchestra and chorus, as usual, perform Verdis music very well.
Russian guest conductor Yuri Temirkanov, here deftly leading from the pit, was later to be named Parmas musical director.
The romantic hideaway in act II is set quite effectively in a cottage with large rear windows overlooking a frozen lake shore.
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She is vivacious and sparkling in act I, deeply in love and then devastated when she realizes she must renounce her love in act II, and dying in act III.
It takes a very special singing actress to do this role full justice.
4 in Bologna with Daniele Gatti, Tchaikovsky’s Iolanta at the Accademia Nazionale di Santa Cecilia in Roma with Yuri Temirkanov, Rossini’s Stabat Mater conducted by Riccardo Chailly, Verdi’s Messa da Requiem conducted by Lorin Maazel in Parma.
Her discography includes I Pagliacci (with Roberto Alagna; dvd), I Pagliacci (with Placido Domingo), Le nozze istriane by Smareglia (live from Trieste), Aleko and Francesca da Rimini by Rahmaninov with BBC, Francesca da Rimini by Zandonai (live from Paris).
She also looks good in the part and makes the sexy by-play quite convincing.
I criticized Vasselevas singing on another set in this Tutto Verdi series, (recorded a year later), where I thought her singing was substandard.
Disappointingly, the Alfredo of Massimo Giordano is another matter.
Giordano is so busy ducking high notes its a wonder he has any time for Violetta.
Another gentleman enters and puts some money down on the mantle and you realize these are Violettas customers.
Forgive me if I err, but it has always been my understanding Violetta is a kept woman, not a prostitute, a small distinction perhaps, in the pantheon of human vices, but at least she should not need a waiting room.
He sings entire passages in a lower register, especially in act I.