Designing the Lavish World of La Traviata on Sydney Harbour
One of the largest chandeliers in the world, spectacular views and the Paris skyline. Brian Thomson's set design for La Traviata on Sydney Harbour is a lavish spectacle inspired by its central character, and the extravagance of mid 19th-century Paris.
"The argument of it being a giant mirror was because it’s really Violetta (a Parisian courtesan, and the opera's protagonist) examining herself. The hull of the opera is a reflection of a certain area of society. The idea of it being a mirror, but not a beautiful clean mirror, rather a kind of decayed mirror, seemed to be an important metaphor to put into the production."
— Brian Thomson
Set model showing the design for La Traviata on Sydney Harbour. Design by Brian Thomson.
Set model showing the design for La Traviata on Sydney Harbour. Design by Brian Thomson.
"In the opening of the opera, she is just basically lying on the stage face down into the mirror, she can’t pay her bills anymore. Then she meets Alfredo and that brings her lust for life back. So she gets up on the chandelier and sings 'Sempre libera' which says I am going to keep on living and keep on loving."
— Brian Thomson
Sempre libera from Opera Australia's production of La Traviata on Sydney Harbour in 2012
The stage "is not an opera theatre, it's outdoors. So I think a lot of what we do has to be part of that world which is Sydney and the Sydney Harbour. The people who are lucky to live on the edge of the Harbour have fabulous chandeliers and they have yachts arriving with their party guests; I think that's the world that we're in. The production is anytime from now back to the 19th century, and there will be elements of all of that."
— Brian Thomson
Artist's impression of Opera Australia's production of La Traviata on Sydney Habour in 2012.
Artist's impression of Opera Australia's production of La Traviata on Sydney Habour in 2012.
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