there were times when the sight of the already departed Violettas reacting to the tragic chain of events registered quite effectively. In the last act, the expiring Violetta seemed well aware of the others, in an "I see dead people" sort of way, and that certainly hit home. I especially liked when the Act 1 party-girl Violetta cavorted during the brief Mardi Gras passage of that last act, momentarily forgetting about the tubercular Violetta facing her doom.

In the end, the idea worked well enough theatrically, and I imagine some folks will walk away thinking about how each Violetta's characteristics contribute to an archetype of the fallen woman with a heart of gold, and how each man in her life "sees something different" in her (as Bruce writes). Or maybe not.

Vocally speaking, Eun Hye Ju, who sang Act 3, was the standout last night, her voice sizable and warm, with a good deal of coloration. Not everything worked technically, but the soprano's intense singing suggested considerable promise. Jennifer Holbrook tackled Act 1 with a bright, if rather tight, tone and telling phrases. She sang part of Ah fors'e lui lying on the floor, still producing plenty of sound. Beth Stewart started Act 2 tentatively, but the voice soon opened up to reveal a tonal sheen that carried the soprano's expressive phrasing.

The evening's sole Alfredo, William Davenport, sounded very much like a significant tenor-to-be. His voice is not large, but has a certain sweetness that can surely be refined, and he should be able to strengthen the top register in due time. He already knows how to shape a Verdi melody quite elegantly. Eun Seo Koo was a work-in-progress. The baritone did not have the high notes or the nuance to fill out Germont's music, and his phrasing was monochromatic. The rest of the cast proved spirited, if technically uneven. (By the way, the supporting roles and chorus were attired in contemporary formal wear, the three principals in 19th century costumes -- another element of Bruce's concept ripe for intermission discussions.)

Hajime Teri Murai conducted with a remarkable flair for the rhythmic elasticity that was once more commonly encountered in Verdi performances. Other than wiry violins, the orchestra turned in a poised, sensitive performance. I was intrigued by the occasional portamento from the strings last night -- something else you don't usually hear today. I'm not sure if Murai actually encouraged it or it happened because a few players lost their discipline, but, either way, I liked it.