OPERA America: How many productions of La traviata have you directed?
Marta Domingo: Twice in Belgium, once in France, twice in Washington, and one in Los Angeles. If you multiply this by the number of performances, forty two, more or less.
OA: What kind of approach do you take when directing a Traviata; traditional or unique?
MD: I know the book by memory. I think that Dumas wrote the most beautiful, incredible and gorgeous heroine in all literature. You have to follow and get your inspiration from the book, but of course, things change according to your singers. I think that Traviata is the dream of every stage director.
OA: What about Traviata do you still find relevant today?
MD: Things change, but romanticism will live forever. Even if you move Traviata to modern times, which I find difficult to believe because of the morals, it is brilliant. Even if it is in this century, I think the limit should be the 1920s, where still, you can believe that a family would not accept a woman of this lifestyle.
OA: What do you do to make a production your own?
MD: That is not easy! After forty years on stage, I have seen the very best. It is very hard to be original. Of course, I stick to the book. Unfortunately, no matter how original you want to be, it is almost impossible.
OA: What is it about Dumas’ story that touches you?
MD: It is unique. The French knew about this kind of lady, for example, like the frivolous and superficial Manon. There are many ladies, but there is only one as generous and unique as Violetta. She gave everything, when she could have enjoyed the money and luxury. She found true love, and that’s it, she could not betray it.
OA: A great production will connect with an audience. How do you think this is accomplished?
MD: I do my very best to frame the singers with a beautiful environment, beautiful scenery, beautiful costumes, beautiful lights and beautiful movements. But, definitely, it is the singers that make the connection. The singers, who are great artists, with great sensibility and great memory, and remember all the little details I give them.
OA: Have you worked with singers that you feel pull off the role of Violetta exceptionally well?
MD: I have worked with Renee Fleming, the beloved American singer! Currently, Elizabeth Futral, who is a beautiful lady, remembers everything I tell her and delivers so explicitly.
OA: La traviata is one of the most produced operas in the world. What do you think makes the opera so widely accepted?
MD: The music! The melodies, the phrasing, the love duet, the arias. Every single singer has sung Traviata. No matter what country, generations come back, and everybody falls in love with Traviata.
