From around the world: Cincninnati.(North America ... )(Norma and La Traviata )(Opera Review)

Since the arrival of artistic director Nicholas Muni, Cincinnatians have become accustomed to unusual repertoire and updated productions. This year, however, Cincinnati borrowed Lyric Opera of Chicago's production of La Traviata, an old-fashioned, opulent, realistic production, designed by Desmond Heeley (seen July 10, 12, 18). Thor Steingraber's solid, sensible staging made much of character details (Gastone the matchmaker, Flora the peacemaker). The audience was clearly pleased with the visual attractions, even more pleased with the musical ones.

Hasmik Papian offered a heart-melting characterization and lovely vocal tone as Violetta. Lacking just a touch of brilliance and agility in the coloratura of "Sempre libera," Papian went from strength to strength, adjusting her voice for each scene to register full emotional impact, secure and effortless. Tenor Miroslav Dvorsky (making his American debut) sang Alfredo with massive voice, burly, more than a bit unsubtle musically, with strong-arm phrasing, bur he made a sympathetic partner to Papian. Mark Delavan's dark, burr-edge sound is unusual for Germont; the warm, rounded Verdi-baritone quality just isn't there. Bur Delavan's emotional commitment and his interpretation of the text were most rewarding. In his confrontation with Alfredo at Floras party, instead of overwhelming Alfredo with a ringing reproach, Delavan intriguingly couched his phrases in tense, soft anger, as if Germont were too furious to speak (or sing); he retained reserves of power sufficient to hold his own in the subsequent ensemble.

Conductor Xian Zhang, the first-prize-winner in the recent Maazel/Vilar Conductors' Competition in New York, led a feverish Act I on opening night (her company debut). With superb confidence, evident depth of musical knowledge and taste, Zhang led a ...