La Traviata is Opera Bohemia’s seventh production and for the first time they are performing a work by Verdi. The independent opera company has been touring around Scotland ever since July and last night they performed at the Edinburgh Fringe Festival in St Cuthbert’s Church.
There’s no denying the vitality of music in La Traviata – based on the story that has inspired films including Pretty Woman and Moulin Rouge - which explains why the venue had packed out. Music Director Alistair Diggs has a way of conducting, which is almost like a performance in itself. He gave clear instructions where the ensemble of musicians followed, giving a refined performance and gravitating the music towards a more poetic and highly structured tone. The pace was neither fussy or rushed.
Catriona Clark is a starry diva as Violetta - the courtesan who dies of consumption. Clark is a vocal lecturer and consultant, outside of her opera singing, which speaks volumes about her own abilities, which is supremely impressive. Her ability to move up and down scales with little effort, or at least what seems like little effort, is astounding. Her performance of sempre libera was thrilling and had audiences gleefully bouncing to and fro in their seats. She also engages with the text and presents an excellent understanding of Violetta's disposition, making her performance a memorable one I'd happily see again.
Together with Alfredo, performed by Thomas Kinch, they convince the audience of a true romance. His characterisation is confident and fresh, and he sings with clear Italian and warmth to suit. Aaron McAuley as Giorgio Germont combines all those anti-hero characteristics one would expect from a selfish father. Yet McAuley pays special attention to Germont’s better qualities in the last few acts. His voice is also rich and his duets with Clark in act II are pivotal.
This La Traviata sparkles with great voices, sentimentality, and thoughtfulness. Even the detailed staging by Director Doughlas Nairne, is carefully managed, which changes in each act. It seems as if Opera Bohemia has covered every corner of their production, and what was performed in a small church seems as rich as an opera staged in a grand opera house.
Opera wouldn’t be influential if it wasn’t
for the role of the ‘diva’ (Italian for ‘goddess’) or the ‘prima donna’. Its
voices: the magnificent sopranos, tender contraltos, and mellifluous
mezzo-sopranos, are huge driving forces that foster our love for opera.
Opera is the one of the few artistic genres
that elevates the status of women. Since the time of Handel and Mozart, opera’s
trouser-roles have also played an effective part. They were specifically made
for women to cross-dress as men, manly fighters and despairing boy-like lovers.
To celebrate Women’s Day, I want to
share my favourite women in opera from voice to characterisation.
Nina Stemme
as Isolde from Wagner’s Tristan und Isolde
Wagner’s 1865 opera requires a strong,
large and loud voice to explain the doomed nature of the love between the Cornish
knight and the Irish princess. The drama begins from a love potion that causes
them to fall in love but since it is an opera it is complicated (which we
love!) She is forced to marry Tristan’s uncle and it ends tragically with
a wounded Tristan who promises to reunite with Isolde in heaven.
Wagner wrote long extended vocal phrases,
and took out pauses, which require breathe control (big exhales) skills. He
wrote the music in a variety of keys. For bold Wagnerian sopranos this means
singing confidently at a high volume without being distracting by the
orchestra’s music, which is often different from Isolde’s music.
Isolde is a mythical character with her own
heart-wrenching music of love and Swedish Wagnerian soprano Nina Stemme has
evoked Isolde’s character numerous times. She is known by many as the greatest Wagnerian soprano of our era. Telegraph critic, Rupert Christiansen, said Stemme is 'the greatest dramatic soprano of our day at the peak of her powers.'
Anna
Netrebko as Violetta from Verdi’s La Traviata
The tragedy lies in the loose lifestyle of
a demi-monde, Parisian party girl, and high-class courtesan who falls in love
with a young nobleman. But she is denied life by a deadly disease:
consumption. Verdi’s opera, based on the heroine of Dumas’ La Dame aux Camélias,
is one of the greatest dramatic roles in all of opera. It has been the
inspiration behind blockbuster movies including Pretty Women and Moulin Rouge.
It is said that the any soprano that sings
the role of our ‘fallen woman’, Violetta, must possess the agility for speed
and flexibility – that is, they must be a coloratura soprano. The vocal
technique of its sopranos require the ability to reach high notes as well as
the lighter more lyrical notes. The bel canto aria ‘Sempre libera’ is an
example that incorporates the versatility of Violetta’s music. It moves in and
out from melodious to excitement and sends the soprano’s voice to the
stratosphere. It is Violetta’s gorgeous soaring music that makes us pity her
and ultimately makes us cry at the same time.
Russian soprano, Anna Netrebko is one of my
favourite opera singers. We see her sing as Violetta here at the 2005 Salzburg
Festival. Her voice is incredibly strong and not only is she a great operatic
singer, she is a great stage actress. I haven’t seen her sing the role live yet
but shall see her as Mími in Puccini’s La Bohéme at the Royal Opera House this
year.
Typically Carmen is sung by a
mezzo-soprano, yet the seductive and fierce female characterisation of Carmen
has called upon sopranos to sing the role as well. The Parisians detested the
opera on its first night at the Opéra-Comique in 1875. One reason for this was
Carmen's female characterisation, which was socially unacceptable at the time -
a woman of free and liberal values. She is a Spanish gypsy (but the opera is
sung entirely in French by the way,) who doesn’t want to commit or be held down
by a man. She is the exception from opera’s usual long-suffering heroine, which
we usually associate with opera. She enjoys the company of criminals and
doesn’t think of the deeper implications of asking Don José to leave his job
for her.
Women who sing as Carmen must have the
energy, charm and enthusiasm to sing the playful and mischievous gypsy.
Carmen’s drifter and mystic attributes are demonstrated in the singer’s vocal
technique, which tends to encompass a thicker and heavier tone. Yet it has to
match the same gravitas as singing higher notes. The arias that are sung at a
lower register are some of most memorable and are sung towards the bottom of
the musical staff.
African-American Grammy award-winning opera
singer and recitalist, Jessye Mae Norman, is another favourite singer of mine.
She has a majestic voice, which soars with beauty over music. Her expansive
vocal range is just one of the many reasons why she is a masterful and highly
respected singer. Although she has stopped performing ensemble operas, only
concerts and recitals, there are a variety of DVDs and Youtube clips that show
her ‘doing her stuff’ and singing on stage.
Some may argue that I've chosen the wrong
feminine opera role to assign her vocal talents to as she is often associated
with Wagnerian operas including the roles of Sieglinde and Strauss’ Ariadne,
but I'd respond by reminding readers of my objective to hone in on notable
feminine characters within opera repertoire.
Maria
Callas, “La Divina”
I would like to add to the mix of female
figures in opera the American-Greek soprano, Maria Callas. She is regarded as
“La Divina” (the divine one) in operatic circles and recognised as the most
famous diva of the 20th century. Her expertise, attention to musical
detail and love for bel canto operas, including Donizetti, Bellini and Rossini,
has made her an emotive soprano and historical operatic icon.
One could argue that her life was a living
opera considering the torment and life struggles she had to endure from a hard
upbringing, close-to wartime poverty, career pressures, rivalry with Renata
Tebaldi and scandalous relationship with Aristotle Onassis.
I have choosen the aria ‘Sola, perduta,
abbandonata’ from Puccini’s Manon Lescaut to touch on the breadth and calibre
of Callas’ voice. It depicts a desperate girl, Manon, who is in love but knows
that she is going to die. The song’s lyrics lament over her life and the
consequences of her past actions, which have sealed by her tragic fate.
I have written a review of Manon Lescaut
from last year's performance by Kristine Opolais at the Royal Opera House. You can read it here.
Last night (May 20th) saw the live broadcast of
Richard Eyre’s production of ‘La Traviata,’ which celebrates its 20th
year at the Royal Opera House. Viewers from all over the globe could stream it
online from their Ipad while several open-air locations throughout the UK
broadcasted it live to the public. Since 2000 ‘BP Big Screen
Live’ has been providing opera broadcasts due to its success of encouraging first-timers to
opera and experiencing it for free. Despite the warning of potential rain,
Trafalgar square was a full house.
Violetta was casted by Ailyn Pérez who has built a strong relationship with the
Royal Opera House. She was Liù in this year’s production of ‘Turandot’ where she
received a grand applause for instilling tenderness and sorrow in her role -
tonight was no exception; in fact, her performance was better. Following the
shambled première
of 'La Traviata' (1953), its composer, Verdi, wrote to his friends that
Violetta required a highly talented coloratura soprano who encompassed
elegance, charm and beauty whilst embracing her shortcomings as a high-class
prostitute dying from consumption. Pérez
managed to maintain her vocal strength after missing a couple of notes at the
end of ‘Sempre Libera’ ;it was inAct 3 this was forgotten and she
managed to gain the audience’s undivided attention and make some cry –
Trafalgar square became silent.
Stephen Costello, who plays Alfredo, is Pérez’s husband off-stage which provides a twist to
their on-stage relationship. He imparts a refreshing illustration of Alfredo’s
character in comparison to others; Alfredo does not pretend to be an
aristocratic alpha male but a naïve man susceptible to intense emotions as he shows
us tears and remorse for embarrassing Violetta in front of society. One can imagine
that the couple’s cleverly crafted depiction of Violetta and Alfredo is
based on their countless practice sessions together at home; resulting
in, no other than, a stunning performance.
Germont (Simon Leenlyside) was a passionately
aggressive father scrunching up letters and hitting his son (only once) who,
unfortunately, did not provide enough conviction or sympathy for suffering
Violetta. However, the dance choreographies from the gypsy girls and manly
matadors were exciting. This was a combination of flamboyance, flamenco
dancing, musical stamping and radiant smiles, which Trafalgar square enjoyed;
some even hummed the song in the intervals.
In addition to the sumptuous costume, the
set design by Daniel Dooner follows the success of 20 years through the use of
large spaces for the scenes of high society versus the small intimate spaces
for the lovers, which gives the production a sense of juxtaposition that Verdi
wanted the audience to see. An example of this is when the full-of-life
carnival song ‘baccanale’ takes place outside Violetta’s home and large
silhouettes overshadow her lonely and critically ill state. Dooner’s stage and
Eyre’s direction is a reminder of the private; feeble nature of Violetta, versus
the public; realism of 19th century values that Verdi wanted to
undermine for his own artistic purposes.
The next BP Big Screen Live showing takes
place on the 15th July of Puccini’s ‘La Boheme.’
Why it is regarded as No.1 in
the world according to Operabase.com.
There should be enough information to get
you in the mood for the Royal Opera House's #BPbigscreens of 'La Traviata' taking place
on 20th May. (All views are my own.)
On 2nd
February 1852 Verdi saw Alexandre Dumas’ play, ‘La Dame aux caméllias’ in Paris,
which was the inspiration behind 'La Traviata.' ‘La Dame auxcaméllias’
is based on
Damas’ own novel aboutMarie Duplessis (1824-47); he dubs her as
Marguerite Gautier in the play. Dumas bases the story on his true account of
the relationship he had with Marie who suffered consequences such as Marie’s
infidelity in addition to financial difficulties which is unlike 'La Traviata' which
uses a father figure to break the relationship. Marie was characterised as a
Parisian courtesan with wit and beauty who carried a bouquet of camellias and
died of consumption at the age of 23. Dumas depicts her as a part of the
demimonde whose lifestyle choices and immorality offended the puritan values of
the 19th century.
Some historians have suggested that
Verdi’s interest in ‘La Dame aux caméllias’ can be seen through his own
personal life, which may have added to his aspirations in creating 'La
Traviata.' This involved his love affair with Giuseppina Streppon, who had two
illegitimate children, which generated considerable scandal among the citizens
of Busetto
and
his father figure, Antonio Barezzi, who criticised him for continuing the
relationship.
Francesco Maria Piave was the
librettist for 'La Traviata' who managed to write a first draft within five
days, reducing
the five acts from Dumas’ play into three. It focuses on
three main characters: Violetta, Alfredo and Germont.
On the premiére
of 'La Traviata' at La Fenice in Venice on 6 March 1853, the performance was
described as a disaster and Verdi even wrote to his friend Tito Ricordi,
‘Unfortunately, I have to send you sad news, but I can’t conceal the truth from
you. Traviata was a fiasco. Don’t try to work out the reason, that’s just the
way it is. ‘ However, Verdi already had his concerns regarded the production.
Firstly, the lead Soprano, Salvini- Donatelli (1815 – 1891), who was not his
first choice, was 38 years old and weighed over 20 stone, which was the antithesis of
how Verdi would have wanted Violetta to be casted. His ideal Violetta would have been ‘young,
had a graceful figure and could sing with passion.’ Unfortunately, for Donatelli,
who received good reviews for her voice, was laughed at soon after Act 1 and
towards the end of the opera.
Verdi, also, sought to add a
contemporary touch to the opera and requested the singers be
in modern dress; the opera was also regarded as being the first for dealing with such
censored and immoral topics including sexuality, prostitution and the disease:
consumption. This was not popular among various countries, so much so
that La Fenice
declined Verdi's request for contemporary costume and insisted the singers be
dressed in 17th century costume – the era of Richelieu – to keep the
opera’s provocative and highly controversial ideas at a distance. At the time, operas portraying death
through consumption were considered taboo, as it was a deadly disease that could
take life in a matter of months.
After 14 months of withdrawing the
opera, revisions and amendments were made between 1853 and May 1854 particularly
on Act 2 and Act 3. They were performed, on Verdi’s approval, at the Teatro San
Benedetto and Violetta was sung by Maria Spezia-Aldighieri who was closer to
Verdi’s ideal casting. As a result, it was a successful performance that was produced
all over Italy and Europe, always
in 18th century costume.
Violetta
Following the revival after the
Teatro San Benedetto (1854) Giulio Ricordi recommended Soprano, Gemma
Bellincioni, for the next role as Desdemona in ‘Otello’ having been cast as
Violetta. But Verdi replied, ‘I couldn’t judge her from 'La Traviata'; even a
mediocrity could possess the right qualities to shine in that opera and be
dreadful in everything else.’ For Verdi, Violetta was a ‘near perfect union’ of
music and drama. He thought that a strong and dynamic coloratura soprano was needed to
highlight the glamour and extravagance of Violetta’s Parisian lifestyle from 'Sempre
libera’ to, then, infuse emotion, death and love together through her agility
and stamina to sing powerfully for songs such as ‘Amami, Alfredo’ without the
use of flourishes.
The
Music
Often, like other operas, 'La
Traviata' songs have be used for commercial reasons which maybe recognisable to
some, even if they have not seen the complete opera.
Rhythmic choruses of the matadors,
gypsies and carnival music are often familiar songs. For a
love story, viewers may question its
usage in such a heartrending opera but, in
fact, these choruses are used as dramatic device deliberately added by Verdi to
provide calm after emotional outpouring moments by Violetta in Act 1, Act 3 as
well as Act 2 where she dashes to Flora’s party leaving Alfredo behind.
When Violetta sings ‘Amami, Alfredo,’
it is the single most poignant part of the entire opera , in my opinion (which
brings me to tears each and every time.) As much as her words ask for Alfredo’s
love in the cheerful sense, coloratura sopranos must face the challenge of
conveying a Violetta that betrays her outward appearance whilst instilling the
sadness of abandoning him and their love.
This is a clip from Willy Decker’s 2005 production
at the Salzburg Festival; notice the use of a large clock as the centerpiece
for the stage (by Wolfgang Gussman) to signify Violetta’s impending death. Anna
Netrebko’s is Violetta, Rolando Villazón is Alfredo and Thomas Hampson as
Germont. Villazón viciously stuffs and throws money
all over Netrebko’s body, which although unsettling is quite effective.
Placido Domingo is Alfredo in Franco Zeffirelli film of ‘La Traviata.’ At the
age of 20, Domingo made his debut in Mexico and later admitted that he, ‘had not yet
learned to control his emotions.’ Teresa Stratas’ Violetta encapsulates a lot
of the elements Verdi would have wanted in his ideal Violetta (in my view.) Cornell MacNeil plays Germont. Modern
Film
Gary Marshall’s 1990 romcom ‘Pretty
Woman’ is the most obvious movie that represents certain aspects of ‘La
Traviata’ given that the heroine who is an inexperienced prostitute, Vivian
Ward (Julian Roberts) falls for the handsome and successful businessman, Edward
Lewis (Richard Gere). One of Lewis’ ways of courtship includes sweeping her off
by private jet to watch ‘La Traviata’ on stage (how fitting?) She tells an
audience member, ‘Oh, it was so good, I almost peed my
pants! to ‘which Edward translates as, ‘she said she liked it better than The Pirates of Penzance.’ However,
the big difference between Ward and Violetta is that this prostitute gets her
happy ending.
Baz Luhrmann’s 2001 romance musical ‘Moulin
Rouge’ was also inspired by ‘La Traviata’ but (I believe) has more plot
elements from ‘La Dame aux caméllias.'
Also set in Paris thered light district of Montmartre,
a young English writer and talented musician, Christian (Ewan
McGregor) falls in love with courtesan and cabaret dancer, Satine
(Nicole
Kidman.) (Luhrmann was inspired by the Greek mythology of 'Orpheus and
Eurydice' in making Christian a musical genius.) Satine, like Violetta,
suffers from consumption and has to forfeit her
relationship with Christian to secure the rights to the Moulin Rouge,
staying
loyal to the theatre and appease its investor, the Duke of Monroth.
This is
all at the advice of Harold Zidler; the owner for the Moulin Rouge and
(in our
case,) Satine’s father figure who tells her to leave her love,
Christian, behind.
Why
is 'La Traviata' rated No. 1 by the world according to Operabase.com
‘La Traviata’ is a love tragedy that
underpins the suffering of a woman – a high-class prostitute – who is put in the
spotlight of Parisian society. Supposedly, a beautiful and witty courtesan she
is, in fact, fatally ill, and, despite being in love with a wealthy man, who
loves her back (which is, perhaps, not
often the case)she is requested to
leave
and relinquish any hope she has of them being together. There is also
her
willingness to move to the country, sell her possessions and support
them financially, which subverts her position from prostitute to
protector. However, as we see later on, her lover turns his back on her
by
embarrassing her in front of society by throwing his winnings at her,
whereby
society and his own father, pity her and condemn the man’s behavior.
From Violetta’s coughing and
repetitive mention of her looming illness, the audience is led into an opera
focusing on the life of an immoral character; a contemporary subject that we
would not usually pity, but for Violetta, we do. This opera draws on
controversial and opposing themes at the same time, which is what makes ‘La
Traviata’ an original opera with reference to prostitution, love, social hierarchy and consumption. Looking back at how contentiously
‘La Traviata’ was
received fromits
first showing in Venice (1953,) it is a testamentto
how these 19th
century values have left us, and to some degree have not; no-one
no one has
created a opera about lovers torn apart by HIV, but there is 'Rent' the theatre show.
Verdi’s use of both sorrowful arias coupled with
timed dances and carnival songs breaks
up an emotional storyline, again evoking
the use of contraries, which work remarkably well in this opera. In its entirely, with
the combination of these dramaturgical themes and literary necessities and, more
importantly, Verdi’s overwhelming rich musical score, this can only be but a
timeless and memorable opera that affects us all. It is, however, the task of
the director and production company to ensure they find the appropriate coloratura soprano to cast Violetta
just as Verdi would have so wanted.
The Synopsis
This synopsis is based on the libretto. Productions
may amend and change the opera as the director sees fit.
ACT 1
It is 1850; Violetta
Valéry
throws a party in the salon of her Paris mansion secured by the Baron Douphol, her protector. Violetta (in earlier productions) is
known for carrying a bouquet of camellias. She suffers from consumption - a
fatal respiratory disease.
Her conversation with her doctor Dr. Grenvil is interrupted as guests enter, including Flora Bervoix, another courtesan who
is financed by the Marchese; the Marquis; Gastone, a Viscount, introduces
Violetta to Alfredo Germont, a
young man from a provincial family in Provence, and tells her that Alfredo has fallen in love with her from afar
and had been enquiring about her health daily. She then decides to chide
the Baron for not being as attentive as Alfredo,
as he replies, ‘I’ve known you only a year.’
Alfredo
proposes a toast to love and pleasure, Libiamo
ne’ lieti calici, and the partygoers join in his drinking song, ‘Brindisi’;
Violetta rejoices as well and says life’s many pleasures need to be enjoyed.
She encourages her guests to go to the next room and dance to the music of an
accompaniment band, but suddenly she has a coughing fit and feels so ill that she has to sit down.
Alfredo immediately comes to her attention even though she insists that he not
worry and carry on enjoying the party, as ‘the chill will pass.’ He tells her
that he must take care of herself to which she replies that she cannot afford
to sacrifice her consumptive lifestyle. Here, Alfredo confesses that he has
secretly loved her Di quell’amor, quell’
amor ché
palpito for a year Un di felice o. At first, she questions
his sincerity with the belief that romance cannot exist for her - a woman from
the demimonde, and requests he forget her, as friendship is all she can offer
him. She then hands him a
camellia (depending on the production) and asks he return it when it has withered
which he persuades her is ‘tomorrow!’Oh ciel! Domani Alfredo leaves and the guests and chorus and soloists take part
in a large ‘Verdi’ chorus Si ridesta in
ciel l’aurora, and exit after.
Left alone, Violetta is ecstatic of Alfredo’s love
and admits she loves him too Ah, forśè lui che l’anima soling ne’ tumulti. Yet, she
battles with her emotions, going to and fro, pondering her lavish and fashionable
courtesan lifestyle, her loneliness and unsuitability for Alfredo’s love. She asks
herself whether risking all of her extravagant privileges for his love is
worthy as she is afraid it will be painful - as she lives for pleasure Sempre libera degg’io folleggiare di gioia
in gioia. Yet, Alfredo sings from below her balcony Di quell’amor , which is an echo and reminder to Violetta of his
love, which adds to her confusion. The scene ends with a repetition of her determination
to be free and to live for the moment.
Act 2 Scene 1
Set in a country house outside of Paris, Violetta
and Alfredo have been living happily together De’ miei bollenti spiriti for 3 – 5 months (the actual duration varies between operas). Violetta has
sacrificed the Parisian city
life to be with Alfredo; however, Violetta still lives luxuriously and pays for
all their bills, which Alfredo is only made aware of by Annina, Violetta’s maid. Alfredo feels ashamed O mio rimorso! O infamia! to hear that
Violetta has requested Annina to sell off her horses, carriages and possessions
to finance their living costs. She tells him that money is running out, so he immediately heads to Paris to try and raise
more.
Violetta enters and Giuseppe, a servant, gives her
an invitation from Flora to a party taking place that evening but she puts this
aside. She welcomes in a man she thought was a financial adviser when it is,
actually, Alfredo’s father, Giorgio Germont. He is impolite towards her;
accuses her of seeking his son’s fortune and destroying his reputation, but she proves him
wrong by showing papers that she
is supporting them - and not living on Alfredo’s income. She also admits to
Giorgio that she is selling her possessions, at which point he realises he has misjudged her.
Irrespective of this, Germont requests she leaves Alfredo for the sake of his
two children, of which she has
no knowledge Di due figli, and the
sake of Alfredo’s sister whose marriage is being jeopardised by their scandalous
relationship Pura siccome un angelo.
Violetta accepts that she may have to leave Alfredo
for a while but Germont insists this must be forever. This upsets Violetta as she pleads with him not to make
her have to make such a sacrifice of letting Alfredo go; she tells him she
cannot live without Alfredo Non sapete
quale affetto vivo. Yet, Germont is unsympathetic and says their love
affair is not blessed by heaven, and that his son’s desire for her will
eventually fade Un dì, quando le veneri. Violetta gives in, weeps and decides that she will leave Alfredo
as she says to Germont, ‘tell the pure and beautiful maiden, that an
unfortunate woman, crushed by despair, sacrifices herself for her, and will
die.’ Germontpities and venerates
Violetta for her willingness to put his daughter first Piangi, Piangi, Piangi, o
misera! He asks her to tell Alfredo that she no longer loves him and she asks
him for an embrace as if she were his daughter. Germont bids her farewell and
goes out to the garden to wait for Alfredo on Violetta’s request, as she knows
that Alfredo will be distraught with the news.
When Germont leaves, Violetta mourns and accepts
Flora’s invitation to the party. (In other operas, Violetta writes a letter to
the Baron Douplol.) Shebegins to write a
farewell letter to Alfredo, but he interrupts her. She resists showing the
letter to him, and, at the same time, he tells her that his father will like
her. (In some versions, Alfredo is worried over a note he had received from his
father whom he is
expecting.) Violetta’s emotions are uncontrollable as she cries and bids to Alfredo
‘Love me, Alfredo. Love me as much as I love you’ Annina, Alfredo, quant’io t’amo. Here, Verdi has marked the score
with con passion e forza.
Once Violetta leaves,
Alfredo, unaware of Violetta’s endeavour to leave him, is content momentarily
until Giuseppe tells him that Violetta has left for Paris and a messenger gives
him the letter from Violetta soon after. He reads the words, ‘Alfredo, by the
time you receive this letter…’ and bursts into tears and embraces his father.
Germont consoles him and tells him to consider his life in Provence Di Provenza il mar but Alfredo ignores
him; enraged and jealous of the Baron, he sees Flora’s invitation and makes way
to the party with his father following him.
Act 2 Scene 2
Flora’s
party takes place in her salon, which the Marquis has paid for. There are
gypsies dancing to their song Noi siamo
zingarelle and some guests are dressed like matadors and picadors. The
Marquis tells Flora that Violetta and Alfredo are no longer together and that
Violetta will be coming with the Baron instead. When Alfredo enters, Flora asks
for Violetta; he says he knows nothing of her and heads to the gambling table.
Violetta and the Baron enter in together and the both see that Alfredo is
there; here, the Baron forbids her to speak to him, and Violetta, shocked that
he is there, asks God for mercy. The Baron challenges Alfredo to play for high stakes,
and Alfredo continually wins as he says, ‘Unlucky in love, lucky at cards.’ When supper is announced, all the guests go to the dining
room and the Baron discretely requests a rematch. Violetta enters after having
left a message for Alfredo to speak to her.
Alfredo
enters the scene in anger, asking why she has summoned him; she warns him that
the Baron wants to challenge him to a duel and advises him to leave. Alfredo, however, accuses her of being
selfish for thinking that if he won the duel she would lose both lover and
keeper. She tries to convince him that she is genuinely worried for his life,
and tells him that she loves the Baron. Alfredo calls all the guests and
exclaims how foolish he was in letting Violetta waste her money on him. He asks
them to bear witness to him repaying his debts to Violetta, as he sarcastically
says Qui or testimon vi chiamo che qui pagata io l’ho and throws his winnings at her (or onto her
feet in some versions); she faints. Everyone is outraged and, at this moment,
Alfredo’s father steps in and expresses his contempt for his son’s behavior and
show of disrespect for Violetta. He says: “A man who insults a woman, even in anger, is himself worthy only of
contempt.” Even though Alfredo feels guilt and shame for what he has done,
Violetta tells him that God will forgive him and she will still love him in
death Ah! Io spenta ancora, pur t’amerò. Alfredo
is led away by his father, and the Baron challenges him to a duel. The act ends
with another Verdi chorus expressing the remorse and sympathy felt for
Violetta’s suffering.
Act 3
The following month, Violetta is in her bedroom laying on her deathbed
in critical condition. She is penniless and attended by Annina only. (Several
versions include a priest and the doctor present who tells Annina that Violetta
has only a few hours to live.) Violetta instructs Annina to give half of the
money remaining to the poor and when Annina leaves, she begins to read (not
sing) a letter from Germont describing Alfredo being abroad after having
wounded the Baron and shall return to seek her forgiveness. But, it is too late
È tardi! , as she knows that her
health is deteriorating and she will die at any moment as she sings - as a
fallen woman - farewell to all her happy dreams Ah, della traviata sorridi al desìo. A carnival baccanale
takes place outside to signify her impending death.
Annina
returns with exciting news that Alfredo has been seen and is making his way to
her, and he makes a big entrance; he runs to her and they embrace in each
other’s arms. He promises to take her to Paris so they can be together and she
can recover Parigi, o cara, noi
lasceremo. Violetta is so filled with happiness and energy that she begins
to prepare to go to church to thank God for Alfredo’s return; yet this is only momentary,
as she faints. Here, Alfredo realises the severity of her illness and Violetta
is desperate to be with Alfredo Ah, Gran
Dio! Morir sì giovane.
Germont
(accompanied by the doctor in some operas) enters and embraces Violetta as he
had once promised to her before. Violetta gives Alfredo a locket (or medallion
in some versions) with a portrait of herself and tells him, ‘If some pure-hearted girl in the flower of her youth
should give you her heart, let her be your wife. It’s what I’d want.’ Alfredo is miserable and cannot accept what
is happening No, non morrai, non dirmelo.
She tells him to deliver the message that an angel in heaven is
praying over them. Suddenly, Violetta begins to feel rejuvenated and rises to
her feet in joy Oh gioiaand then
dies.
References: Great Operas, Michael Steen (2012) The Complete Operas of Verdi, Charles Osborne (1997) The Illustrated Encyclopedia of Opera, Stanley Sadie (2004) The Operas of Verdi: Volume 2, Julian Budden (1992) La traviata Opera Guide Roger Parker, Anna Picard, et al. (2013)
La traviata Opera Guide, Nicholas John, Denis Arnold, et al. (1985)
