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La Traviata, a glorious work that deserves to be revisited time and again, was last performed eight years ago at Vancouver Opera. This perennial favourite has been given a brand-new look and features a terrific cast. And, in an unprecedented collaboration, five Canadian opera companies have joined forces to produce lavish sets and costumes inspired by the decadent music hall scene of 1920s Paris. Violetta, a famous Parisian courtesan who is consumed both by love and a life- threatening illness, is sung by Canadian Emily Dorn. Tenor Andrew Haji, who delighted audiences as Nemorino in last year’s production of L’Elisir d’amore, is the love-struck Alfredo.
The performance will last approximately 2 hours and 50 minutes, including 2 intermission.
Sung in Italian with English SURTITLES™
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Composed by Giuseppe Verdi
Libretto by Francesco Maria Piave after the play La Dame aux Camélias by Alexandre Dumas fils
Giuseppe Verdi's (1813-1901) prolific career spanning six decades made him an icon in his native country of Italy. He produced many successful operas which are at the core of today’s repertoire, and became known for his skill in creating melody and his profound use of theatrical effect. La Traviata's libretto is by Francesco Maria Piave (1810–1876), who also collaborated with Verdi on Ernani, Macbeth, Rigoletto, and La Forza del Destino.
SYNOPSIS
Violetta Valéry knows that she will die soon, exhausted by her restless life as a courtesan. At a party she is introduced to Alfredo Germont, who has been fascinated by her for a long time. Rumor has it that he has been enquiring about her health every day. The guests are amused by this seemingly naïve and emotional attitude, and they ask Alfredo to propose a toast. He celebrates true love, and Violetta responds in praise of free love. She is touched by his candid manner and honesty. Suddenly she feels faint, and the guests withdraw.
Only Alfredo remains behind and declares his love. There is no place for such feelings in her life, Violetta replies. But she gives him a camellia, asking him to return when the flower has faded. He realizes this means he will see her again the following day. Alone, Violetta is torn by conflicting emotions—she doesn’t want to give up her way of life, but at the same time she feels that Alfredo has awakened her desire to be truly loved.
Violetta has chosen a life with Alfredo, and they enjoy their love in the country, far from society. When Alfredo discovers that this is only possible because Violetta has been selling her property, he immediately leaves for Paris to procure money.
Violetta has received an invitation to a masked ball, but she no longer cares for such distractions. In Alfredo’s absence, his father, Giorgio Germont, pays her a visit. He demands that she separate from his son, as their relationship threatens his daughter’s impending marriage. But over the course of their conversation, Germont comes to realize that Violetta is not after his son’s money—she is a woman who loves unselfishly. He appeals to Violetta’s generosity of spirit and explains that, from a bourgeois point of view, her liaison with Alfredo has no future. Violetta’s resistance dwindles and she finally agrees to leave Alfredo forever. Only after her death shall he learn the truth about why she returned to her old life.
She accepts the invitation to the ball and writes a goodbye letter to her lover. Alfredo returns, and while he is reading the letter, his father appears to console him. But all the memories of home and a happy family can’t prevent the furious and jealous Alfredo from seeking revenge for Violetta’s apparent betrayal.
At the masked ball, news has spread of Violetta and Alfredo’s separation. There are grotesque dance entertainments, ridiculing the duped lover. Meanwhile, Violetta and her new lover, Baron Douphol, have arrived. Alfredo and the baron battle at the gaming table and Alfredo wins a fortune: lucky at cards, unlucky in love.
When everybody has withdrawn, Alfredo confronts Violetta, who claims to be truly in love with the Baron. In his rage Alfredo calls the guests as witnesses and declares that he doesn’t owe Violetta anything. He throws his winnings at her. Giorgio Germont, who has witnessed the scene, rebukes his son for his behavior. The baron challenges his rival to a duel.
Violetta is dying. Her last remaining friend, Doctor Grenvil, knows that she has only a few more hours to live. Alfredo’s father has written to Violetta, informing her that his son was not injured in the duel. Full of remorse, he has told him about Violetta’s sacrifice. Alfredo wants to rejoin her as soon as possible. Violetta is afraid that he might be too late.
The sound of rampant celebrations are heard from outside while Violetta is in mortal agony. But Alfredo does arrive and the reunion fills Violetta with a final euphoria. Her energy and exuberant joy of life return. All sorrow and suffering seems to have left her—a final illusion, before death claims her.
MUSIC YOU NEED TO HEAR
Composed by Giuseppe Verdi. Libretto by Francesco Maria Piave.
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Verdi’s timeless romantic tragedy had its premiere at Teatro La Fenice in Venice in 1853. It was first performed at Vancouver Opera in 1961, and was last produced in 2011. This is the 11th time Vancouver Opera has mounted a main-stage production of La Traviata.
Pictured: Our 1961 production of La Traviata.
