In homage to director and designer Nikos S. Petropoulos, Greek National Opera did a revival of his 2001 La Traviata, first given at the Olympic Theatre. The design was Over The Top in the best possible way, with the first act in a room full of Baroque and Rococo design. Everything is decorated, from the window surrounds to the furniture. Violetta’s party is going perfectly, as they always do. She sends them through to dancing while she has a quiet coughing fit.
What’s curious in this production is the insistence all the way through that she’s ill. In other productions, she attempts to hide her illness more, but here, she declares it outright and, in places, emphasises it. As is the case with most women dealing with medical situations, she’s ignored. The insistence through the second act of Germont, Sr., telling her she can just go get another boyfriend while she’s saying she doesn’t have much longer to live, I’m sure struck a chord with many in the audience.
Violetta Valéry was sung by Vassiliki Karayanni, who gave an outstanding performance as the woman who has to go from the top of her profession to a death in isolation. Alfredo Germont was sung by Yannis Christopoulos, who should have taken advantage of the makeup department. Instead of a young bon vivant, he appeared more like an aged friend of someone’s father. He did an excellent job singing, but this is opera, where looks matter.
Act III: Alfredo (Yannis Christopoulos) sees the dying Violetta (Vassiliki Karayanni), 2026 (Greek National Opera)
The other star of the show was Giorgio Germont, played by baritone Tassis Christoyannis (Τάσης Χριστογιαννόπουλος). The often overly sentimental Act II songs, where he asks Violetta to give up Alfredo for the sake of his daughter’s impending marriage (Pura siccome un angelo) and where he tries to get Alfredo to recall the beauties of home and return to the bosom of his family (Di Provenza il mar), come across much more naturally than in the voices of other baritones. This is a father trying to get his family back together again, and he makes a compelling argument.
As a revival of production created 25 years ago, there was much to admire. The scenery of the elaborate rooms and furniture was perfect, particularly in the last act when we return to the rooms where Violetta had her world and where she now has to die.
Violetta (Vassiliki Karayanni) in her party room
The costumes, however, didn’t really stand the test of time. Violetta’s appearance in the first act in a white dress made her stand out from the rest of the people on stage, but also gave her a curiously bride-like appearance. Her brown outfit for the countryside was a little too bland.
Act II: Germont (Tassis Christoyannis) pleads with Violetta (Vassiliki Karayanni) to give up his son, 2026 (Greek National Opera)
It was a perfect Traviata, made even better by the perfection of Violetta and Germont, Sr.
Verdi: La Traviata
Greek National Opera
Revival
18, 19, 21, 23, 24, 26, 28, 30 Jul 2026
GNO Stavros Niarchos Hall – Stavros Niarchos Foundation Cultural Centre (SNFCC)
Trailer: La Traviata (Greek National Opera)
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