La traviata is one of the staples of the operatic canon, a tragic romance packed full of some of Verdi’s most sumptuous melodies. It’s a classic for a reason, and this revival of Sir David McVicar’s 2008 production takes all of the things that make La traviata special and amplifies them, creating a truly powerful, moving experience.

Set in Belle Époque Paris, La traviata tells the story of Violetta Valéry, a famed courtesan, as she finds love with Alfredo Germont, leaving her hedonistic life behind. However, when Alfredo’s father comes to her to beg her to leave his son in order to protect their family’s reputation, she reluctantly agrees for Alfredo’s sake, returning to her old ways before Alfredo finds her on her deathbed, moments away from succumbing to tuberculosis.

Tanya McCallin’s designs, along with lighting originally by Jennifer Tipton and by Robert B Dickson for the revival, are very effective – there’s clever use of curtains to isolate certain parts of the stage, and an ominous-feeling black marble floor reminiscent of a gravestone. The costumes and wigs, particularly during the party scenes, are vibrant and perfectly pitched to capture the exuberance of the parties. Both McVicar’s original direction and Leo Castaldi’s revival direction creates a production that is luxuriously expansive at times, and painfully intimate at others. Act III, confined to Violetta’s bedroom, is heartwrenching in its realism – there is no glamorous death scene here; the pain of her illness is palpable and harrowing to watch.

Of course, powerful direction is one thing but the performers must be able to deliver that vision, and deliver they do. Hye-Youn Lee is a powerhouse as Violetta. Her voice soared through Violetta’s numerous arias and scenes, never seeming to tire or falter, even in that final deathbed scene – how she is able to produce such beautiful sounds while contorted in agony is a mystery. A particular highlight is ‘Sempre libera’ – the fiendish coloratura is effortless and captures Violetta’s hedonism perfectly.

Opposite Lee, Ji-Min Park is a wonderful Alfredo. His powerful tenor makes light work of Verdi’s melodies, and his acting is very believable, particularly his heartbreak in the final moments of the opera. Phillip Rhodes as his father, Giorgio, is a commanding presence. His extended scene with Violetta is a real musical highlight, with his rich baritone easily filling the theatre and carrying over the full sound of the Scottish Opera Orchestra, once again directed with aplomb by Stuart Stratford.

Although these three roles carry most of the weight of the piece, there are many smaller roles, particularly in the party scenes, along with vast choruses which really contribute to the lavish, hedonistic feel of Violetta’s world. All of the smaller roles are admirably performed, but special mention has to go to the scene-stealing duo of Lea Shaw and Ross Cumming as Flora and the Marchese d’Obigny, both of whom are absolutely hysterical in their slightly sleazy frivolity. The 34-strong chorus, directed by Susannah Wapshott, are exuberant and vocally excellent, and the small troupe of dancers, choreographed by Andrew George and Sirena Tocco, add even more visual splendour to an already vibrant world.

This is really a definitive production of one of the world’s most-loved operas, chock-full of powerful, affecting performances of some of the greatest music ever written. This is a triumph to end another exceptional season for Scottish Opera.

***** Five stars

Reviewed by: Lorna Murray

Scottish Opera’s La Traviata plays at the Festival Theatre Edinburgh until 15 June, with further info here.