As designed by Susan Hilferty, there is nothing in the elder Germont’s wardrobe that would indicate he is older than Alfredo this becomes confusing to the storytelling when you have such a young baritone like Quinn Kelsey in the part.
Other distractions that continued to be detrimental to the viewing experience were Germont’s daughter who was on stage for about two minutes before exiting and Germont’s costume. However, one has to give credit to the two lead dancers for their flexibility and their virtuosic movements. And the choreography continued to be a big distraction as it didn’t match the rhythm of the piece at times the only thing one heard was stomping on the floor in lieu not Verdi’s incredible music. In Act two, scene two, the ballet dancers attempted to avoid it causing the choreography to look messy and disjointed. There was, of course, the bed which remains a huge issue and that was most noticeable as supers picked up Kurzak in the first act awkwardly trying to avoid it. The distracting choreography in Act one was nowhere to be seen as the chorus members stood in their spots throughout the entire evening and costumes in Act one that resembled Beauty and Beast looked dim thanks to the lack of creative lighting choices. Interestingly enough the intrusiveness of the production when it opened seemed to fade into the distance.
The sets failed to illuminate and looked dark the entire evening, almost as if they were covered in dust. In its first revival since last year, Michael Mayer’s production looked 30-years-older. Unfortunately, there wasn’t much to marvel about otherwise. For this revival the Met brought superstar Aleksandra Kurzak, who was taking on the role of Violetta for the first time at the Metropolitan Opera. It was the first revival of the production which scored a divisive reaction from the critics and the audience last season when it premiered. 10, 2020 Verdi’s “La Traviata” returned to the stage in Michael Mayer’s production.
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