Perhaps one reason for the dramatic effectiveness of the production is its use of an English translation of the libretto. The clear diction of the cast ensures that no word is lost, even in the larger ensembles. The translation itself lacks any particular spice, and at times seems to support the argument that there really just is more room for redundancy in languages we don't understand than in English.

Fortunately, however, most of the time the words don't need to be poetry, but vehicles for the music. And the vocal and musical quality of the cast is consistently high. Laurie Anne McGowan as Violetta shows remarkable control of a powerful and expressive soprano voice.

She agilely soars through florid lines and shows great stamina in a work that demands her presence onstage almost constantly. Frank Ragsdale as her lover Alfredo possesses a lyric tenor voice that fills the hall effortlessly even in his quietest moments. They blend almost instinctively in their duets.

Michael Morizio as Alfredo's father Georges Germont contributes his warm, paternal baritone voice to complete the trio of main characters. These are supported strongly by Joel Derfner as the man-about-town Gaston, Emily Baehr as Violetta's friend and rival hostess Flora, and Benjamin Siris as Violetta's jilted "client" the Baron Douphol.

A very musical and handsome chorus completes the cast, whose loud denunciation of Alfredo's public shaming of Violetta in the second act is particularly powerful. Joel Bard's musical direction keeps the pace from dragging while making the most of expressive opportunities for the able and tightly synchronized orchestra. Of note is the delicate balance achieved of players and singers in the large ensembles.

The two party scenes are particular highlights of the production. The entire cast makes an elegant picture in which some of the tensest dramatic moments of the plot are framed.

The second of the scenes also contains two smooth dance numbers with undulating gypsy maidens and simulated bullfights. Joel Derfner's acrobatic performance as the riotously poker-faced bullfighter Piquillo is executed without missing a beat (or a breath) in the midst of his vocal performance as Gaston.

This year's Lowell House production wins its audience over with its simplicity and ability to convey the force of larger-than-life passions against the backdrop of decadent, aristocratic elegance. La Traviata sets musical gems in a sterling dramatic setting; the Lowell House Opera makes the opera's instrinsic worth the star of the show.