Considering David McVicar’s maverick reputation, there was always the possibility that his staging of La traviata, unveiled last year by Scottish Opera, might be set in Zimbabwe, even a colony on the Moon: anywhere except the 19th-century Paris that Verdi wished.

Imagine the rustle of pleasure then as the audience for its Welsh National Opera debut looked upon chandeliers, smoked glass, black draped curtains, white camellias, courtesans with suggestive legs. We were at the farther end of the 19th century than Verdi proposed. Still, this was McVicar in realist mode, invigorating a barnacled classic by his nose for detail and knack for orchestrating sets and costumes (Tanya McCallin), lighting (Jennifer Tipton), and the cast into a theatrical whole — principally coloured black.

WNO’s cast brought their own colours. The Violetta of the Greek soprano Myrtò Papatanasiu (it’s her UK debut) is exactly what the opera needs: no fashion-plate diva but a hard-working woman of the demi-monde, clear-sighted, passionate. That tart edge and strip of steel in her voice reinforces the character’s backbone and makes it more believable that even in consumption’s grip Violetta should sing on and on. It’s a strong voice, in every register, but she never overwhelms or preens; for that, much thanks. She also dies nicely...

...Dario Solari is in glorious voice as Germont, though his Di Provenza il mar, perversely, is almost too tender to suit Germont the hypocrite. Vivid contributions too from Louise Poole (Flora), David Soar (Dr Grenvil), the suave WNO orchestra and the vibrant chorus.

Rating ****