# Becoming Traviata



## rgz (Mar 6, 2010)

Missed it while it was in theaters. Netflix just got it in and shipped me my disc. 
It certainly gave me more appreciation for how much thought directors put into the presentation, and of course Natalie Dessay seems like the most amazing person ever. No diva vanity -- she rehearses without worrying about the camera, not feeling the need to doll up and do her makeup. 
What's really interesting is when she's marking her part quietly, not in projected voice -- her voice is absolutely gorgeous when she's not singing in her mask (I like her full voice too, but it's not nearly as beautiful as what she showed here). 
I remember reading about how she naturally had agility and range, and what she had to work on was making her voice big enough. I think now that she pushes into her mask so much that it lends that very nasal quality her sound has, because her natural voice lacks that nasality and is really something. 

All in all, the movie was only fair. A huge missed opportunity was in how they neglected to show the completed scenes that we saw being rehearsed, changed, tweaked, rehearsed some more. They really show have shown the finished product for that scene afterwards, especially since the movie only really covered four scenes as I recall (opening / Libiamo; e strano / sempre libera; letter scene; death scene). I guess, thinking about it, they showed a few more, but rather briefly.
Ludovic Tezier sounded better here than my normal conception of him, perhaps he's been working on his voice, it had a nice robust roundness to it that has often lacked.

So, anyone else seen it? What are your thoughts?


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## Antony (Nov 4, 2013)

Mr Rgz,

I did. My preference of scene is 19th century which fits the concept of a high society: a rich and famous courtisan and duke, count.... So this MET production is not my cup of tea. But the whole opera is about Violetta, and I like Natalie's voice: rich, solid, full of feelings and emotions (it's very important to me) ...In a word: she lives her role. Ludovic's voice is ...finer, softer which fits his role (it's ok but it's not an exception). I still prefer Alfredo Kraus.

I ordered the disc. It will be my third Traviata after Maria Callas and Angela Gheorghiu.


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## rgz (Mar 6, 2010)

Hm. It's not a Met production; the movie covered the Aix-en-Provence Traviata which is rather different from the Willy Decker production that has been a mainstay at the Met for the last several years. That Aix-en-Provence production is indeed the one available on dvd.
I feel like Ms. Dessay is not a great fit for Violetta, voice-wise, but her acting makes up for it. I was fortunate enough to see the Met production in 2012 and while her voice was problematic at times she did a fine job in the acting department.


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## Cavaradossi (Aug 2, 2012)

Here's my initial impression from a thread I started after seeing it in the theater last summer:

OK, this film is definitely one for opera cognoscenti. Refreshingly, there are no introductions, no talkover narration, no talking head interviews, no historical background, and no explanation of the storyline. It's basicly a camera running on the rehearsal process from initial blocking thru final dress covering selected scenes from the opera in sequential order. Not very user-friendly for those seeking edu-tainment, but I liked that it assumed the viewer understood the significance of the proceedings.

There are segments with the other principals and the chorus and orchestra rehearsals, but for the most part it is Sivadier working with Dessay. (I would have liked to have seen and heard more of Castronovo.) I don't think this peek at the background takes away any of the "magic", on the contrary hearing how Sivadier verbalizes his concepts and Dessay responds only highlights the level of talent and concentration it takes to make it all look so natural and easy. For me one of the most compelling parts was when they showed repeated iterations of Violetta collapsing into Alfredo's arms showing the difference only the slightest adjustment in gesture and costuming makes.

http://www.talkclassical.com/26035-dessay-becoming-traviata-movie.html

You make an interesting point about her voice when she's marking. Her voice has a pleasing, almost throaty quality in her recent effort singing cover tunes with Michel Legrand. (Though from what little I've heard, I'm not thrilled about the arrangements.)


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## Antony (Nov 4, 2013)

rgz said:


> Hm. It's not a Met production; the movie covered the Aix-en-Provence Traviata which is rather different from the Willy Decker production that has been a mainstay at the Met for the last several years. That Aix-en-Provence production is indeed the one available on dvd...


Oh, I'm sorry, I got it wrong. Thanks to point it out.


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