“That’s how to take it – splendid!” declares the chorus en masse with delightfully old-fashioned stiff upper lip. This recording dates from 1980, after the end of Sir Charles Mackerras’s reign at the London Coliseum, but still in time to capture the traditional values over which he presided at English National Opera.
Above all, the set is a perfect example of what recording opera in English should be about. Edmund Tracey’s translation is remarkably close to the Italian, always using words with the same linguistic origin where possible, and the singers take the text to heart. There is no libretto in the booklet and none is needed. John Brecknock, in particular, used to be renowned for the clarity of his words in the theatre, one of the traditions now in danger of being lost for good. His Alfredo sounds a young man of good bearing, singing with an attractive English ardour even if he was slightly past his best by this time. Christian du Plessis makes a Giorgio Germont with enough voice, but limited imagination. Both artists get a single verse of their cabalettas, Brecknock ending his with a dutiful top C. Among the supporting cast Della Jones’s spitfire Flora briefly snatches the spotlight, as she makes her consonants crackle with energy. All of them worked regularly with Mackerras at ENO and sing with a care for the details of the score that must emanate from him. There is not, however, much passion about the performance. At the height of the drama one wishes they would all let themselves go.
So far the set’s virtues may be ephemeral, but Valerie Masterson’s delectable Violetta deserves her chance with posterity. There is a moment towards the end of “Un di felice” where Mackerras gives her a little extra time and she floats the high A with an intuitive freedom that seems to cradle the very spirit of the opera in the palm of her hand. As much as any international singer, Masterson knows where to find Violetta’s heart in the music. She is not in equally good voice throughout (the recording was made over a period of three months) but at its best her soprano has a delicate, bone-china fragility that very nearly embodies the role. It is difficult to imagine anyone who wants La traviata in English being disappointed.'