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La Traviataopens with an act of renunciation: Violetta gives up glamour for the possibility of love.
Verdi makes that choice a real one by giving each side of music memorable specificity.
Susan Hilferty outfitsle tout Parisin Marzipan-colored costumes thatElton Johnmight consider a little much.
In between the party numbers are scenes of heartbreaking intimacy.
In her Act I soliloquy, Violettas music toggles between wild runs and passages of sober introspection.
In his last two sojourns, he showed himself a master of complex, high-drama scores, WagnersParsifaland StrausssElektra.
Florez substitutes charm for volume, which often works.
Fortunately, Quinn Kelsey, as Alfredos father Germont, brings some petty-bourgeois sincerity to the stage.
