LA TRAVIATA Synopsis

La Traviata (The Fallen Woman) • Music by Giuseppe Verdi • Libretto by Francesco Piave

La Traviata was the third opera in what could be called Verdi’s ‘breakout year,’ 1852-53. Preceding it, in quick succession, had been Rigoletto and Il Trovatore. Indeed Verdi was writing both Trovatore and Traviata at the same time in spite of the fact that their stories and music could not have been more different. Traviata was inspired by Verdi seeing Alexandre Dumas’ 1851 play La Dame aux Camélias(The Lady of the Camellias). What made Traviata so different in its time was that it treated a contemporary subject, among the very first to do so in opera. Indeed, when the opera was premièred in Venice the management of the Teatro La Fenice in Venice insisted it be set in the early 1700s because they were sure that the contemporary subject and costumes would offend its audiences’ sensibilities, as they were used to operas set in historical times. The first performance was a fiasco. But a year later it was produced again (still set in the 1700s) to wild acclaim. It was not until almost forty years later, though, that the opera was produced in contemporary dress and by then the 1850s seemed a generation removed and the subject a little less shocking.

ROLES:

Violetta Valéry, soprano, a courtesan
Flora Bervoix, mezzo-soprano, her rich friend
Annina, soprano, Violetta’s maid
Baron Douphol, baritone, Violetta’s protector
Alfredo Germont, tenor, a young man
Giorgio Germont, baritone, his father
Gastone, Viscount de Letorières, tenor
Marquis D'Obigny, bass
Dottor Grenvil, bass

Act I

Paris. A salon in the house of fashionable courtesan, Violetta Valéry, where a party is in progress. Alfredo is introduced as an admirer. While guests dance, Violetta is beset by a fit of violent coughing and Alfredo attends to her. He urges her to abandon her wanton life. The guests leave and Violetta muses about Alfredo’s urging, ‘A fors’è lui.’ But she shrugs it off and launches into a somewhat hysterical expression of joy in her present life, ‘Sempre libera.’

Act II

Scene I, a country house where Violetta and Alfredo have been living together. Alfredo learns Violetta has been selling her possessions to support them, ‘De’ miei bollenti spiriti,’ and he rushes to Paris to get money to help them. His father, Giorgio Germont, arrives and tells Violetta that her son’s scandalous affair with her will ruin his younger sister’s chance to wed, ‘Pura siccome un angelo.’ She agrees to renounce Alfredo, ‘Dite alla giovine.’ Alfredo returns and Violetta tells him she must leave for a while. After she is gone a letter arrives telling him that she has resumed her relationship with a rich patron, Baron Douphol. Germont comforts his son by singing of their old home in Provence, ‘Di Provenza il mar, il suol.’

Scene II, a salon in Flora’s palace. A party in progress. Alfredo arrives, followed by Violetta and Baron Douphol. Alfred wins handily at cards and then throws the money at Violetta’s feet, proclaiming that he has repaid his debt to her. Alfredo’s father arrives and a chaotic finale ensues in which various strong passions are expressed by all.

Act III

Violetta’s bedroom. Although Dottor Grenvil expresses optimism, Violetta knows she is going to die of consumption. She reads a letter from Alfredo’s father telling her that Alfredo has fled abroad after wounding Baron Douphol in a duel, but that he is hurrying back to be with her to ask her forgiveness. Knowing she has only a few hours to live she appeals to God’s mercy, ‘Addio, del passato.’ Alfredo enters, the two lovers dream of escaping Paris in health and happiness, ‘Parigi, o cara.’ But Violetta collapses and both realize she is on the point of death. Alfredo’s father arrives and asks forgiveness for the suffering he has caused. Violetta dies.

Written by J. Scott Morrison, former OCM Board member