In October, Philadelphia’s Academy of Vocal Arts had their strongest Giargiari vocal competition in memory. This month, they began their opera season with an Italian warhorse, La Traviata, which in the cast I saw showcased the first-place winner, Lydia Grindatto as Violetta. Operas to come this season are Don Pasquale (in February) and Don Giovanni (in April).
If the focus on such centrist Italian-language repertoire feels very conservative, it’s worth remembering that the primary goal of AVA is to prepare and polish young singers for careers in opera. On that level, Traviata proved a success.
Grindatto in particular confirmed the fine impression she had made at Giargiari with a charismatic, thoroughly inhabited performance that showed careful preparation in every aspect. All Violettas in my experience find their most natural fit in one of the opera’s three acts. For Grindatto, it’s Act II, where her high-octane emotionalism and shining upper-middle register come into focus…
Click here to read the full post at Parterre Box.
Categories: Criticism, Music, PARTERRE BOX
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