Violetta is a proto-feminist who understands that Alfredo's sister won't find a good husband as long as Alfredo is living with a courtesan. In an act of love, she abandons her happy life and returns to Paris. How Alfredo chases her down at a fabulous party and berates her in front of her friends, and how his father has a change of heart too late to avoid tragedy is the stuff of legend — and recent legend at that.

Even in our more just and enlightened age, people still tut-tut about women who "had a life" before settling down. If you watched the coronation of King Charles III this week, you probably heard a rehash of the scandal attached to now-Queen Camilla. Long before Diana entered the picture, Charles wanted to marry his true love, but since Camilla was not a virgin (horrors!), Charles was pressured to marry an inexperienced girl instead. In the opera-worthy saga of Diana's tragic death and the slow, careful steps toward Camilla and Charles' love reclaimed, we saw a staid, modern, British La Traviata.

On opening weekend in McCaw Hall, the audience was brimming with excitement to see a new version of this popular, lavish, emotional work. If you were around for the last La Traviata there — 2017's minimalist production originally created by Peter Konwitschny for the English National Opera and Opera Gratz — you may remember how discombobulated the audience was to see a stage with nothing but a velvet curtain and two chairs — for the entire show. There was no chorus, no second-act party with Spanish dancers and toreadors. It was one of the few missteps we've ever seen at Seattle Opera — a brave but unsuccessful gamble on minimalism by then-director Aidan Lang.

Now this marvelous opera has been restored, and a big thank-you is due to the current general director, Christina Scheppelmann. She understands how magically La Traviata's combination of beauty, drama, and fabulous singing transports opera lovers, new and old, into the dream of a magical past. Her collaboration with Glimmerglass Opera Theater, Washington National Opera, the Atlanta Opera, and Indiana University has paid off in a thrilling production of a great classic.

Elegant sets designed by Peter J. Davison and exquisite costumes by Jess Goldstein slightly update the setting from the mid-1800s to the turn of the 20th century. Associate choreographer Andrea Beasom has created fabulous dance numbers, based on the original choreography of Parker Esse.

But the real magic is found in the music. On opening night, Mpofu thrilled the audience with her gorgeous singing. Extended ovations deservedly followed each of her arias. It is to be hoped that Scheppelmann will find occasions to bring her back to Seattle. In the Sunday matinee cast, Galoyant also sang beautifully and acted well.

Kim's lovely performance redeemed the role of Alfredo after Chenes' opening-night foray was marred by poor intonation. Both Chioldi and Kang were excellent as Giorgio Germont.

Seattle Opera is fortunate to have engaged conductor Carlo Montanaro for many productions. He clearly has a great rapport with the singers and orchestra, as well as with the audience. As always, the orchestra played superbly. The chorus, helmed by chorusmaster Michaella Calzaretta, has never sounded better, and took on much of the work of moving components of the set during performance. Bravo!