Violetta, La traviata

by Beth Stewart


Theater Basel, 2017

He immediately focuses our interest. And so, of course, does Corinne Winters as Violetta, in virginal white and lavish headdress. No one could ask for more from the role: a Traviata who delivers glittering coloratura runs as well as intimate lyrical passages, extroverted self-expression, and bitterest pain with magnificent touching intensity.”
Aliena Müller, Telebasel

The star of the evening is soprano Corinne Winters, who in the lead role wholly convinced as both actor and vocalist… The evening in Basel belongs to Corinne Winters, who shapes her role of Violetta Valery to the end, with differentiated vocals for every turn of phrase. Winters is a woman with the beauty of a Catherine Zeta-Jones and the voice of a young Anna Netrebko. She makes use of the enormous range of this part with all her facets and shades. Her Violetta is frivolous, girlish, in love, humiliated, and eerily strong. She pulls off the coloratura in the cabaletta 'Sempre libera' and moves us with consummate dynamics in the romance 'Addio del passato.'”
Peter Wäch, O-Ton

"Victim and driving force in one: Corinne Winters, Zürich’s memorable Mélisande, here in her signature role. She does not belong to the league of twittering sopranos who so often inhabit this role. No, her's is a lyric soprano without all of the extraneous high notes – a voice that actually sings the suffering, a vocal actress who intones her own requiem."
Heinz W. Koch, Badische Zeitung

The American Corinne Winters filled her role with vocal refinement and touching intensity – in the end, the entire audience lay at her feet without reserve.”
Reinmar Wagner, Aargauer Zeitung

Corinne Winters gives a poignant Violetta. She does not rely on high, long-held top notes, but on emotion. It flows best in the third act - many a patron wiped a tear from his cheek.”
Michael Hug, Der Neue Merker

With Corinne Winters, the Theater Basel has an outstanding protagonist who gives this Violetta dignity and depth. Even in the dazzling first act, for which the stage designer Lizzie Clachan has built a round mirror hall in the art deco style, this attractive, doomed upper-class courtesan – in the midst of bodices, wigs and suspenders, in her slit white silk dress – is never vulgar. In the second act, she resembles a Madonna when she squeezes her bedspread like a cloak, and, kneeling on the ground, sings her love for Alfredo. Corinne Winters, in her multi-faceted interpretation, always returns to this intimate, warm tone. Her perfectly rounded dark timbre soprano can also harden in order to shine in the fortissimo outbursts above the full orchestra. In his opulent production, Daniel Kramer sets the stage on optical luster and strong contrasts. In the last act, the evening also gains a scenic appeal. Here Violetta dug her own grave. One last time Corinne Winters is entrancing with her compelling artistry, before this lover, carried by the warm orchestral sound, goes without quarrel to death.”
Georg Rudiger, Neue Zürcher Zeitung