La traviata

Verdi outdid himself when he penned La Traviata. The cast of singers for this production is superb. The cinematography is appropriately both beautiful and colorful, particularly at the Villa outside Paris.

Stratas is excellent and poignant as Violetta. Domingo makes a most passionate Alfredo. Cornell MacNeil is a splendid Giorgio Germont. Alan Monk is a fine Baron. The cinematography is particularly fine.

All in all this is one of the finest productions of La Traviata ever.

I believe that I have it on both laser disc and DVD.

Who else but Franco Zeffirelli could make what is the best opera movie ever? He has made several of them. After all, his productions at La Scala in the '50s catapulted that opera house once again to reign among the world's best, and preceded his move into film making. Known for lush period costume dramas, Zeffirelli surely doesn't disappoint in that department. In fact, visually, LA TRAVIATA ranks among his best work. Controversial innovations, luxurious locations, and superb casting make LA TRAVIATA even more unique. His editing down of several (repetitive) arias, and visual depiction of many of the arias' contents through flashbacks caused much controversy in Europe where I first saw it in its 1982 premiere. However, the controversy was generated by opera purists, since from a purely artistic viewpoint, not to mention a strictly cinematic one, LA TRAVIATA has never been so well expressed, in fact no opera has. The cinematic enhancements and cutting a few minutes off the running time to make the work more accessible only made opera more attractive to all. The beautiful actual locations of the Seine, old Paris, the French countryside, and opulent palaces are a treat to watch as the wonderful music, conducted by the Met's legendary James Levine is played. Neither is pushed back to the background. Both elements blend into an unforgettable whole. If one wants to see pure opera, one can buy several versions of LA TRAVIATA especially filmed live at an opera house, and watch the musicians in the orchestra pit play, the conductor's gestures, and hear the superb voices of the usually out of character (physically and age-wise) singers on stage. The performances are usually longer as many arias are repeated several times, something film can avoid through its unique advantages. In this case the performance on film runs 1 hour 45 minutes, without the elimination of any arias (just avoiding the repetition described above). In contrast, the opera house experience, including two intermissions usually runs twice that length, if not longer. This version of LA TRAVIATA is not only fine movie-making, but showcases the superb voices and musical excellence of the best of the classical recordings. With the sublime Teresa Stratas in the title role, and the now legendary Placido Domingo as her love interest, one cannot ask for better leads. They are also of believable age, and display great chemistry together. The young Domingo's fiery Latin emotions with his imposing looks, and the very slender and also young Stratas' passionate interpretation (especially in her facial gestures) are totally convincing and captivating, as are, needless to say, their vocal talents, among the greatest of the century. Added touches such as subtle shots focusing on the period's social customs, and a knock-out ballet sequence in a party scene are among the final master touches to this unique production. One simply cannot compare, say, the "classical" version released two years later featuring Dame Joan Sutherland (possibly the greatest soprano ever, but at the end of her incredible career)and Luciano Pavorotti (to whom comparable comments also apply). But two extremely overweight leads pushing sixty portraying young lovers obviously lend a different perspective of this great opera. Placido Domingo and Zeffirelli have since made more opera movies, and they are all excellent. But here, Domingo is in his prime, and looks the part. (He has obviously aged as consequent opera films were made, up to ten years later in fact.) And Zeffirelli here is still at the stage designing grand opera productions around the world, while still in his creative prime as a film maker. As for Stratas, her Violeta (la traviata, the woman led stray) is, for me, the highlight of many highlights. She combines compelling acting, unforgettable vocal agility, and (almost unheard of in opera) a very thin, attractive physique. It is almost to good to be true. Many viewers who are not opera buffs do in fact think she is a dramatic actress dubbed by a great soprano. An incredible package indeed, and this applies to the entire production. Definitely a 10. Someone should put pressure on Universal (who is still selling the same 16 year old video) to restore this gem, and re-release it on video and DVD. I just bought another VHS, and was disappointed it was still the original version. With DVD's growth, I'm sure that will soon change if it isn't already happening. Don't miss it in any version you can get your hands on.

Beautiful...just beautiful. Sad and emotional. Beautiful story, music, singing and acting. Beautifully done. I'm at a loss for more words here. Not to be missed!

What glorious music! What Glorious singing! A story bigger than life. Production values that do justice to Verdi's opera. This is grand opera at its grandest. In a scale from 1 to 19, this is a 20.

Generally in opera, the singing is the thing. One puts up with elephantine singers, make believe props, bad acting, and other shortcomings to enjoy the music, and especially, the singing. In this film, none of this annoyances takes place. Teresa Stratas looks beautiful as Violeta should. She sings gloriously as Teresa should. Ditto with Placido Domingo. Unlike some opera singers, both of them can act. The sets are sumptuous, the lighting excellent, the cinematography nonpareil. The direction and editing propel the story without flagging for any moment. This film is as close to perfection as humans can achieve.

A path of education...

Art of high achievement influences many eternally and profoundly. Maybe he was not as accomplished as his good old dad, Alexandra Dumas Fils made his own work a classic household name which is well-remembered and appreciated.

I first heard about "Cha Fa Nui" (Camille) from the mouth of my mother when I was still an upper primary school girl. To a young Chinese girl, this meant nothing at all but I went to the public library and found that there were many copies with this title translated by Taiwanese. I never finished reading it because the names are too long and the Chinese is too literary, I was bored to death by it. The only thing I remembered was that it was a French novel. Dropped, the book, but not the name.

A few years later in the early 80's, Franco Zeffirelli's operatic movie with Chinese title as "Cha Fa Nui" was on show in one and only one movie house, "Palace" at Causeway Bay (demolished!). At that time, this prestigious cinema showed mostly western movies of big names like Gone with the Wind, Casablanca, Dr. Zhivago and so "La Traviata" was one of them.

Hong Kong Chinese were then not very familiar with Western culture, the cinema staff had even misplaced Plácido Domingo's name as "Domingo Plácido" on the billboard. I, as a teenager, was a little intimidated by the movie house by its reputation and grandeur. Yet, out of curiosity, in those fearless, carefree and innocent days, imitating the adults with good taste, I bought a ticket to see this movie. And it was a WOW, what an eye-opening experience!

The vision, the music, the powerful opera singing, the acting and the poetic cinematography, the wondrous costumes and hairdo, it was an educational adventure to a young life. (So, until now I still don't understand how come the man at one row before me could be sleeping and snoring so annoyingly while his girlfriend/wife/sister was staring hard on the screen without moving her head.) Everything is unforgettable about this movie. The happy time of the lovers that Violetta once fell off into a shallow brook from the narrow wood plank. The histrionic and comical fit of Alfredo when he was struggle to open that fateful letter from Violetta. And the most excruciating of all, I can still feel the deafening horror that the deserted and seriously ill Violetta was standing desertedly in the cruelly empty and stripped big house, letting out piercing shriek of pain.

The subsequent episode is an educational search for me: I looked for abridged version of "Cha Fa Nui" in English "Camille" and found out that the names of the original protagonists were Marguerite Gautier and Armand Duval but not those in the operatic adaptation as Violetta Valery and Alfredo Germont. Furthermore, the book inspired Giuseppe Verdi first to make it into an opera but not Franco Zeffirelli's movie.

And five years later, I learned some French and so, dared to touched the original "La Dame aux Camélias". Later, I learnt from an Italian lady that the name of Verdi's opera "La Traviata" was derived from an Italian verb "traviare" which means "to mislead", "to lead astray", or "to corrupt". Thus, a "corrupted man" is a "traviato" and so "the fallen woman" or "the corrupted woman" is "La Traviata". And the book has inspired every generation's film-makers or TV producers, so far there are more than forty adaptations. Well, well, well, what a job all through the years.

What's more interesting, I once read from an oddly-enough page about the Brits' Prince Charles. It is reported that his favourite opera is "La Traviata", and my eyebrows arched. Of course, his loved one is named "Camilla", and strictly speaking by royal standard, she is a "fallen" (committed adultery + divorced) woman.