Wise historians remind visitors to fabled historical sites like Versailles that, in their heyday, such places were crawling with life, from the glorious to the grotesque, and thus were quite different from the "look-but-don’t-touch" museums they’ve become. In the classical performing arts, can the same be said of opera, that four-century old art form once thought to be dead? In a word, no.

Opera is alive and well. And you can even touch it — aurally, that is. Indeed, opera is experiencing an unprecedented renaissance. In America, it is enjoying mass audience appeal, as opera’s fastest growing demographic is among young audiences between 18 and 35. Where the symphony sees a decline in ticket sales, opera sees an increase. And where symphony orchestras fight just to stay alive, opera companies see tremendous growth and are getting the much-needed private patronage to survive.

What is it then about opera that has caught the public’s attention? Is it the visuals? The music? The drama? The snob appeal generally associated with opera? The booming economy? Or, could it be, simply, that modern audiences, living in a multi-media age, think opera offers the total entertainment package, from the visuals straight through to the music, drama, and snob appeal? Has opera, oddly, finally come home to roost in America?

Well, if you’re for a good source with which to evaluate such elusive social trends, then a good place to start would be the Harrisburg Opera Association’s (HOA) production of Giuseppe Verdi’s La Traviata on May 23, 25, and 27 at the Whitaker Center.

Now in its 29th season, the HOA has established itself as an important and vital cultural institution in Central Pennsylvania. While it is not The Metropolitan Opera, it certainly has earned its stripes among the many second-tier opera houses in America.

Basically, second-tier opera houses, such as the HOA, function as a proving ground for up-and-coming singers while educating the populace as to the beauty of opera. On rare occasions, and with budgets permitting, some of these second-tier houses manage to bring in brand-name singers and directors who can truly make an evening at the opera magical. Fortunately for Central Pennsylvania, the HOA is one such house. And its upcoming production of La Traviata promises to be one such magical night.

For this production, artistic director and conductor Victoria Bond, now in her third season, has pulled all the stops. She has assembled major-league talent that includes: Cynthia Edwards, artistic director and staff stage director of the New York City Opera; George Dyer, lead tenor (Alfredo), who has sung at the New York City Opera; Patricia Johnson, lyric soprano (Violetta), also of the New York City Opera; and local singing legend John Darrenkamp (Baron Douphol), a former member of The Metropolitan Opera for 22 seasons.

Though filling the stage with operatic singer power is important, Bonds is also fully aware that without the proper facilities, the production would lack professional punch. "We are so happy to have a home here at the Whitaker. Not only does it give us a presence downtown, but it also allows us to put on very polished, technical productions. Plus, with the supertitles above the stage translating the Italian, everyone should understand the intricacies of the drama on stage," Bonds said during a telephone interview.

And speaking of polished productions, Bonds has been praised for her artistic vision since taking over the post. "My job, as I see it, has been to make the Harrisburg Opera Association a fully professional regional opera company and to stage opera on a very high level." And judging from HOA’s most recent success with Madama Butterfly, which, by the way, sold out every performance, Bonds seems right on track.

Based on Alexandre Dumas’ (Three Musketeers novelist) work La Dame aux camélias, La Traviata is a love story between a stunning courtesan (Violetta) and a young, impassioned man of the French gentry (Alfredo). Their love, though undeniable, is tragically quashed by 19th Century social convention; Alfredo’s father pleads with Violetta to let his son go, lest the family suffer irreparable public insult. In a perplexing display of love and self-sacrifice, Violetta agrees to break with Alfredo.

What ensues is typical of 19th Century Romanticism: Violetta falls deadly ill with tuberculosis and Alfredo, learning of his Dad’s fatal request, rushes to her bedside where the heroine dies in his arms. Though this may seem a bit much, Verdi knew how to make the obvious seem sublime. And stage director Cynthia Edwards, acknowledging this, plans to go right to the soul of the piece and expose Violetta.

"I’m going to show the main conflict of the opera and reveal Violetta’s soul. This is a story of great sacrifice and heroism," Edwards said during a telephone interview.

Edwards will concentrate on strong, dramatic performances and will have only minimal sets so as not to distract from the acting on center stage. She also considers the Whitaker an optimal space for Verdi. "The Whitaker is a dramatic, intimate space, and Verdi is an intimate, operatic composer. So I think the production will work very well here."

Though La Traviata bombed at its premiere in Italy on March 6, 1853, it was soon vindicated after Verdi made a number of revisions. When Verdi finally gave the nod for another performance the following year, it met with much success. Since then, this Italian success has been performed all over the world and is now as much an international staple (to the opera lover) as other Italian exports such as pizza or spaghetti.

For those not that familiar with opera, La Traviata is a must-see. It’s the type of opera that won’t send you running for the exits at intermission or rummaging through your bag looking for painkillers during the performance. Verdi knew his audience well, and he could use and elaborate upon Italian operatic clichés better than anyone in the business. And with the cast that HOA has assembled, it seems a sure-fire win.

Tickets should be booked in advance, as all three shows are expected to sell out.

For more information please contact the HOA’s box office at 214-2787.