Eric C. Simpson

The Met orchestra and chorus sounded splendid under Valery Gergiev’s baton. Rather uncharacteristically, he was reluctant to have his players dig in on Monday; more roughness would have underscored the drama of the opera’s darkest moments.

This was in no way the fault of the lead soprano, as Lisette Oropesa gave a performance as Manon that confirmed she is fully ready for leading roles at the Met.

Mayer has a gift for visual flair, and his Traviata does boast some vivid images, such as the gargantuan silhouettes of manic Carnaval revelers that haunt Violetta’s windows in Act III. But the striking effects are lost in a sea of strange decisions.

During the poignant music that opens the prelude to Act I, Mr. Nézet-Séguin drew radiant yet delicate playing from the strings. Then he shaped the melody that unfolds in sighing, descending phrases with elegance and refinement.