Scappucci's fresh take on Verdi's La Traviata
December 8, 2016

Scappucci's fresh take on Verdi's
La Traviata
Even in the overture, it was clear that each of Verdi’s notes were being taken seriously. For Vienna’s familiar opera ears, Speranza Scappucci’s Tempi might have seemed a bit unusual in the preludes to the first and third acts. Leading in the drama, the shimmer of the high strings, similar to those in Richard Wagner’s “Lohengrin”, announced that something not of this world was coming. What followed was not a call for willing weight or even swaying pulse, but the beginning of a dance of death. Scappucci develops the drama from the pit, like Verdi wrote it. You can see from her precise conducting that she studies her craft at the highest level. The native Roman and Viennese by choice, worked for a couple of years with Riccardo Muti at the Salzburg Festival and in Rome before she started conducting herself. It is clear, she benefits in the pit from her prior activities as a co-repetitor Lied accompanist. She understands how to breathe with the singers and bring together the Orchestra and the stage in unity.

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