Nineteenth century French courtesan Marie Duplessis was the inspiration for a play by one of her lovers, the author Alexandre Dumas, and subsequently for the three act opera La Traviata by Giuseppe Verdi.

In the latter she re-emerged as Violetta Valery, a beautiful but doomed high-class prostitute who keeps a fashionable Parisian salon.

Falling in love with a young man of respectable family, Alfredo Germont, is destined to cause anguish for all concerned, not least Alfredo’s father Giorgio, who is hoping to make a good marriage for his daughter.

He secretly visits Violetta and implores her to abandon his son. Knowing that she is dying and that Alfredo is her final chance of happiness, they are living quietly together away from the glitter of the city. Violetta makes the great sacrifice of falsely renouncing her love, and returns to Paris and her old protector Baron Douphol. Pursued by an enraged and uncomprehending Alfredo, tragedy inevitably unfolds.

The performance of La Traviata by Opera A La Carte at the Earl Cameron Theatre on Wednesday could prove to be a Bermuda Festival gem. Given an unfamiliar venue, Nicholas Heath must be congratulated on successfully surmounting the problems a travelling company faces.

Verdi’s operas are sumptuous in melodic grandeur and dramatic breadth. The nineteenth century setting was recreated as nineteen thirties and minimalist. The costumes were simple black and white with flashes of red and suggested elegance and decadence combined. Lighting was used to good effect, especially in the final death scene.

There were only ten singers on stage throughout the evening, but their ensemble was so powerful that the lack of chorus in the party scenes was of little concern.

The big problem could have been the absence of an orchestra. However, the piano duo of Susie Allan and Anthony Ingle, who also conducted when necessary, more than compensated. They were outstanding, supporting every combination of voices with great expertise and professional aplomb.

Of the singers, the greatest demands were made of Violetta, sung by soprano Cheryl Enever, and Alfredo, by tenor Leonel Pinheiro. At the soirée in Act One they immediately established a chemistry, which served the drama well throughout.

The formidable arias and duets were delivered seamlessly, from the exuberant invitation by Alfredo to enjoy life in Libiamo ne’ lieti calici and ending with Violetta’s tour de force È strano! è strano! where she first doubts her ability to genuinely love. The scene ends, however, with the lovers pledged to unite forever. In opera, events move quickly!

The beginning of Act Two is given largely to Alfredo’s father Giorgio, sung by popular baritone Michael Dewis, and Violetta. In his aria Pura siccome un angelo where he describes his beautiful daughter, he displayed richness and warmth of tone quality. These qualities were also evident in his later famous aria Di Provenza il mar il suol. Here, with Violetta having agreed despairingly to his pleas to renounce Alfredo by letter, the elder Germont is now consoling his heartbroken son.

The parted lovers’ subsequent meeting at a party in Violetta’s apartment, which seems to have been turned into a bordello in her absence, is visually arresting.

The climax of the drama is most certainly the public humiliation of Violetta by Alfredo in his outburst Ogni suo aver tal femmina. Here he throws his gambling winnings in her face for services rendered — great drama, great pathos, great consternation. Alfredo is repudiated by his father and the entire gathering, while a distraught Violetta is consoled. As in all tutti scenes, the singing and acting was remarkably effective.

In the final act, Violetta is alone, dying of consumption, and attended by her faithful maid Annina, sung throughout by fine actress and mezzo soprano Iris Korfker.

The ultimate scene features the sublime duet Parigi a Cara where Alfredo, now aware of his beloved’s sacrifice, and Violetta sing vainly of a future together. Too late, as surrounded by Giorgio Germont, Dr Grevil and Annina, and a devastated Alfredo, Violetta dies.

This performance was a triumph of grand opera on a small scale, much enjoyed by the very appreciative audience. Congratulations must go to all involved, and to the Festival Committee and sponsors for their support of such an ambitious venture.