The Ángela Peralta Theater vibrated with emotion on Friday night with a memorable performance of Giuseppe Verdi’s “La Traviata,” one of the most beloved operas worldwide since its premiere in 1853. The second and final performance will be presented this Sunday at 7:00 pm.
With its moving love story, its critique of social hypocrisy, and its exquisite score, this work continues to move audiences more than 170 years later.
On this occasion, Vinceró Academy and Escenia Ensemble, with Abdiel Vázquez as musical director and Ragnar Conde as stage director, and with the support of the Institut Municipal de Cultura de Mazatlan, offered a bold and contemporary reinterpretation, a version set in the 1980s that incorporated characters who challenge conventional social norms, adding a layer of reflection to the story based on Alexandre Dumas Jr.’s “The Lady of the Camellias.”
La Traviata tells the tragic story of Violetta Valéry (soprano Jaime Marie Webb), a kind-hearted courtesan who sacrifices her love for Alfredo Germont (tenor Luis Cornejo) in an act of redemption. Social and familial pressures force her to sacrifice her happiness, leading her to an inevitably tragic fate.
A score that touches the soul
From the opening prelude, Verdi establishes the opera’s melancholic and tragic tone with delicate and moving orchestration.
The work is divided into three acts, each with musical moments that have remained in the collective memory and that the Camerata Mazatlán, under the baton of guest conductor Abdiel Vázquez, performed movingly.
Act I: Violetta’s famous aria, “É strano! Sempre libera,” stands out, in which the protagonist debates between love and her life of freedom. Also featured is the toast “Libiamo ne’lieti calici,” one of the opera’s most famous choruses, where Alfredo and Violetta celebrate love at a party. It was in this scene that the Ángela Peralta Choir, under the direction of Maestro María Murillo, sounded vigorous and with an extraordinary melodic line.
Act II: One of the most dramatic moments emerged here with the duet between Violetta and Giorgio Germont (baritone Alejandro Cardona), “Pura siccome un angelo,” in which Alfredo’s father convinces her to abandon her son for the family’s honor. Also notable was the moving aria “Di Provenza il mar,” the aria in which Germont tries to console his grieving son.
Act III: The opera reaches its tragic climax with the aria “Addio del pasatto,” in which Violetta, ill and abandoned, bids farewell to life. In the final moments, the duet “Parigi, o cara,” a tender and desperate farewell between Alfredo and Violetta, gives way to a heartbreaking finale accompanied by the chorus in a subtle lament.
The Importance of the Chorus in La Traviata
Although La Traviata focuses on the protagonists, the Angela Peralta Chorus played a fundamental role in the work. From the festive opening toast to the high-society scenes at the home of Flora Bervoix (mezzo-soprano Erin Rosales), the chorus acts as a reflection of the morals and social hypocrisy of the era.
A distinctive and applauded feature was the inclusion of the Drag Ensemble, composed of Aquamarina, Maarshal, Pauly Medrano, Pelushe Stars, Sailor Blue, Tynker Stars, and Ximena O’Farrell, in the vibrant choruses of gypsies and bullfighters “Noi siamo Zingarelle” and “Di Madride Noi siam mattadori,” adding an explosion of color and dynamism that enriched the narrative and resonated with the inclusive vision of the production.
An immortal legacy
The combination of melodic beauty, dramatic intensity, and social criticism make La Traviata a timeless work that continues to move audiences in the most prestigious theaters around the world. The fresh and inclusive vision presented in Mazatlán reaffirmed the timelessness of Verdi’s music and its ability to connect with contemporary audiences through its power and emotion.
Jenna Weitman (soprano), Jannik Horlitz (baritone), Josaphat Contreras (tenor), and Ángela Rodríguez also gave outstanding performances, consolidating the success of this thoughtful and contextualized production of “La Traviata” as part of the Instituto Municipal Culture, Tourismo y Arte de Mazatlan’s Spring Season 2025.
This Sunday, the performance begins at 7:00 pm. Tickets $500.00, $450.00, $400.00, and $250.00 are available at the TAP box office. Online box office: 669 120 00 20.
