Violetta, La traviata

by Beth Stewart


Seattle Opera, 2017

"Konwitschny’s pared-down production places the focus firmly on Violetta, and Corinne Winters is theatrically and vocally the ideal fit for Konwitschny’s vision. An intensely compelling presence, Winters’ Violetta is by turns angry, vulnerable, and gritty. Fascinatingly, she was at her most desperately moving in the first act, showing compassion for Alfredo’s humiliation and physically shielding him from the taunting chorus. Vocally, her rich soprano best suits the spinto outbursts of Act II, though she ably navigated the Act I coloratura with fearless brilliance and a ringing E flat. Best of all, her nuanced shading and projection of the text eliminated the need for the projected supertitles."
Kevin W Ng, Bachtrack

"Corinne Winters, as Violetta, brought her character to life with a rich, commanding soprano that gripped the audience from the first moment to the last. Her 'Sempre libera' shone through the starkness of the production to conjure up the demi-monde with her youth, beauty, lush voice, and passionate performance."
Sharon Cumberland, Seattle Gay News

"Soprano Corinne Winters, also in her Seattle Opera debut, as Violetta, ranges convincingly from sharp and fiery to meek and broken as bodily illness and social rejection catch up with her."
Rebecca Brown, The Stranger

"On opening night the singers were in excellent voice, with Corinne Winters an especially compelling Violetta. She is a talented actor as well as singer, alternating power with subtlety; her performance of Violetta’s final aria was especially touching, as heartbreaking as any I have ever seen."
Alice Kaderlan, Seattle Post-Intelligencer

"Corinne Winters' Violetta is a sublime blend of fiery and fragile. Plus she has a gorgeously clear soprano voice, progressing with eloquent ease from fierce to desperate to seriously ill, on even the highest notes."
Maggie Larrick, Queen Anne News

"Winters was the opening evening’s star as she performed a flawless Violetta. Winters achieved a convincing portrayal due to her terrific technique and her tasteful approach to the character... Hurt’s bronze-like voice combined magnificently with Corinne Winters’ fine vocal nuances in their duet of the Second Act, in the best moment of Saturday’s performance."
Carlos Lopez, Opera World

"The young and slender Winters looked and acted the role superbly. She has the voice too, beautiful, expressive, and able to sing softly and expressively including on the highest notes, as she gradually fades to death in the last act."
Michael van Baker, The SunBreak

"The singing throughout was particularly fine. Corinne Winters managed all the rapid shifts of emotion and costume fluidly and convincingly."
Theodore Deacon, Opera Magazine

"Winters, with remarkable technique and refined style, was able to recreate Violetta’s edges with grace, giving dramatic meaning to the agile coloratura lines, and perfectly executing the vocal dynamics, always with great elegance. The Maryland soprano effectively underlined the changes her character experienced. Without question, she was the great triumph of the evening. Undoubtedly, Corinne Winters is a young star on the rise, whom we will follow with interest."
Carlos Javier Lopez, Opera World

"From beginning to end, the opera is all Violetta’s. Winters sang Violetta in the original Konwitschny production at the English National Opera in 2013, and her familiarity with the role allowed her to perform it with full-blown confidence. With so many arias and duets – many when Violetta is taken down by her worsening consumption and sings on the floor or in other compromised positions – her secure strong soprano resonates. She does everything right in the role. Winters embraced Violetta so thoroughly that we don’t pity her. We are sad that she has to die, that she loses her true love, but she goes out with dignity, backing away triumphantly into those red curtains."
Angela Allen, Oregon ArtsWatch

"What’s more vital is the singing, and here the show satisfies. To her sure-footed performance of her showpiece 'Sempre libera,' Corinne Winters brings a hint of a hard edge, making audible the desperation in her assertion to remain unencumbered following Alfredo’s declaration of love. That this was a choice and not a vocal given she demonstrated later in her satiny, quiet opening phrases in 'Dite alla giovine' and in the headlong passion of her farewell declaration, 'Amami, Alfredo.'"
Gavin Borchert, Seattle Weekly

"Winters’s Violetta has a strong stage presence – convincing, seductive, and frivolous in “Sempre libera,” yearning in “Amami, Alfredo” and melancholic in “Addio, del passato.” Her voice is ample, smooth in the legato and sweet in the soft spots, versatile in its agility, and capable of maintaining consistency in an elegant and expressive continuum. Her interpretation is enriched with pathos in the last act, where she becomes aware of the contrast between her hope for improvement and the inevitability of her fate. Despite the unchanging scenery and lighting, she enchants audiences with her mastery of breath and dynamic control."
Viviana Coppo, OperaClick

"On the plus side, there’s the singing, chiefly that of Corinne Winters in the title role. She is a beautiful and fearless Violetta, capable of both power and subtlety, and able to leap onto the lone chair during one of the most feared of all soprano arias, “Sempre libera.” An affecting actress, she made Violetta’s exuberance, despair, and inexorable decline in health all very clear."
Melinda Bargreen, Seattle Times

"Petite American soprano Corinne Winters, whose breakthrough came as ENO’s 2013 Violetta... excelled in Acts II and III with her full lyric, rich midrange, nuanced voice-coloring and fine physical acting, building steadily to a poignant death. “Amami, Alfredo” flowed and burned like lava; “Ah! Gran Dio! morir si giovane” erupted on a big crescendo and single breath."
Mark Mandel, Opera News