“MassOpera’s ‘La Traviata’ knocks down the fourth wall.” Read the full article here.

“The final act was the most aggressively cut, with a spooktacular solo violin haunting the mansion in memory of Verdi’s richer orchestration. This part of the presentation was the most creatively arranged music I’ve ever heard, as Violetta’s decline through COVID-like symptoms was shatteringly heightened by the lack of a huge visible support system. Solo violinist Anna Harris, simply costumed in black, mirrored the singers through sound and movement, vanishing up the stairs with Violetta intoning her final phrases.” Read full article here.

“The opera opens in this space, with warm brown lighting and champagne bottles that were visible all over the performance area: there was a splendor to the scene we walked into…we looped back to this location for Act IV, but when we did, the room looked completely different: the room was very dimly lit, there was a makeshift bed in the center of the performance area, some of the furniture was covered in white sheets, and in place of the champagne bottles was an old-style radio…this is a Traviata that I was genuinely invested in by the time Violetta was cajoled up the stairs to her more figuratively-staged death by violin soloist Anna Harris...” Read the full article here.

“‘What could be more gorgeous than being thrust into one of the great operas, in a grand home at sunset?’ asks Bowen. ‘Hardly anything, as MassOpera demonstrates in a production so novel and beautifully done that it should be a standard contribution to the form.’“ Read the full article here.