Violetta, a courtesan much wooed by Parisian society, organizes a grand party that is attended, amongst others, by the young Alfredo Germont. He confesses his feelings to Violetta, who is already suffering from consumption. She vacillates between genuine affection and a realistic assessment of her situation as a "fallen woman", which precludes any lasting relationship with a man. The Franco Zeffirelli production of LA TRAVIATA, recorded live at the Teatro Giuseppe Verdi, Februari 2002..
Few singers have plumbed the depths of the role of Violetta as did she incomparable soprano Renata Scotto. Her interpretation surprises with fresh insights at every turn, illuminating aspects of the character that are latent in the libretto and the schore but rarely dramatized with such completeness. For example, when Germont meets Violetta, he is immediately struck by her strong bearing ( Quai modi! , he exclaims in an aside)..
La Traviata was recorded at what was one of Venice's most exquisite 18th-century opera houses, La Fenice, tragically destroyed by fire in 1996, and now rebuilt. This glorious house is where La Traviata was premiered in 1853. In this memorable performance, Slovak soprano Edita Gruberova takes the leading role of Violetta, the tragic heroine, persuaded by Alfredo's father, Giorgio, to sacrifice her happiness with Alfredo for the sake of family honor..
L’amour impossible d’une courtisane, Violetta et d’un jeune homme de famille honorable, Alfredo Germont, qui se croit trahi quand sa bien-aimée, persuadée par le père de celui-ci, le quitte sans expliquer les réelles raisons de cette séparation..
This superb 2006 production of the Los Angeles Opera's La Traviata stars Renée Fleming, who joins the ranks of the elite handful of sopranos whose vocal and acting talents make their portrayals memorable. Her Violetta Valéry is a vulnerable figure torn between self-indulgence and love, sacrificing personal happiness to become a victim of the social mores of mid-19th-century bourgeois France. Fleming's acting captures the complexity of the character and her vocalism is flawless. She negotiates the wild coloratura of Act One with aplomb, and is stunning in the lyric passages that pervade the opera, and touching in her scenes with her lover, Alfredo, and his father. Her singing is free of the mannerisms that have sometimes crept into her work and at the same time she brings countless personal touches to the role, phrasing and verbal emphases that shed fresh light on the character..
Alfredo Germont and the courtesan Violetta Valéry fall in love at a party in Violetta's Paris salon. Alfredo is determined to cure Violetta of her tuberculosis, and the couple leave Paris and begin a contented life in the country. But Violetta's happiness is destroyed when Alfredo's father Giorgio Germont pays her a visit. Richard Eyre's stunning naturalistic production contrasts the superficial glamour of 19th-century Parisian high life with intimate scenes for Violetta with Alfredo and Giorgio Germont, culminating in the heart-breaking final act..
Toute nouvelle production auu Met de la tragédie bien-aimée de Verdi, La Traviata, est en soi remarquable. M%ais la mise en scène éblouissante de Michael Mayer de la la saison 2018-2019 l'est particulièrement car elle marque les premières performances de Yannick Nézet-Séguin en tant que directeur musicale du Met, qui mène ici un ensemble étoilé. Dans le rôle de Violetta, l'héroïne phtisique luttant pour trouver le vrai bonheur, la soprano Diana Damrau livre un portrait convaincant . Sans le rôle d'Alfredo, l'amant ardent mais impétueux de Violetta, le ténor Juan Diego Flórez chante son premier rôle de Verdi avec la compagnie. Le baryton Quinn Kelsey complète le casting principal dans le rôle de Giorgio Germont, le père implacable d'Alfredo..
In Benoît Jacquot’s production, Manet’s Olympia dominates the stage of the Opéra Bastille. In 1863, the painting caused a scandal: the prostitute awaits her client, her expression proud, her demeanour assured. Is this Violetta? Like Olympia, Verdi’s most celebrated heroine surrenders to the spectator just as she surrenders to love, going so far as to die on stage, a woman’s ultimate sacrifice for her lover. Or might it be the spectator who strips her bare and intrudes upon her privacy, in the image of this milieu of social voyeurism? Whatever the case, these two women regard us with defiance and subjugate those who cannot help but look at them..
Alfredo Germont est épris de Violetta Valéry, courtisane à la vie fastueuse et libertine. Son amour sincère pour elle gagne la jeune femme : ensemble, ils décident de quitter l'effervescence de la ville et s'installent à la campagne mais, bientôt, les difficultés d'argent se font sentir. Un jour, alors qu'il rentre d'un court voyage à Paris, Alfredo découvre avec désarroi que Violetta est partie..
Du jamais vu : un opéra dans la gare de Zurich, au milieu des flots de voyageurs. Quand l'art lyrique descend de son piédestal pour aller à la rencontre du public. Un véritable défi artistique et technique !.
For his opera Garnier stage-directing debut, Simon Stone creates a sensational La Traviata, 2.0! Pretty Yende and Benjamin Bernheim triumph as Violetta and Alfredo in a production that remixes the beloved operatic masterpiece’s familiar love story for the digital age, adding social media notifications, all-nighters, texts, and parties to produce an interpretation starkly appropriate for our modern era. At the podium, Michele Mariotti conducts the Paris National Opera Orchestra..
La Traviata’s sumptuous melodies and timeless depiction of doomed love have made the work a favorite of generations of operagoers. In his approach to this classic drama, director Willy Decker sets the action on a nearly bare stage, focusing the audience’s full attention on the three main characters. As Violetta, the ailing courtesan desperate to escape her past, soprano Sonya Yoncheva offers a fearless and sympathetic performance from beginning to end. American tenor Michael Fabiano sings with ardent longing as her devoted lover Alfredo, delivering emotionally wrought phrases and ringing top notes. Thomas Hampson brings a burnished baritone to Germont, Alfredo’s protective father whose stern demands spell disaster for the young couple. On the podium, maestro Nicola Luisotti leads an electric performance of Verdi’s unforgettable score..
Giuseppe Verdi based his famous opera on the novel “The Lady of the Camellias” by Alexandre Dumas. Robert Wilson’s production of Violetta Valéry’s tragic fate is his first work at the State Theater of Linz, Austria, one of the most modern operatic stages in Europe by architect Terry Pawson. After the run in Linz, the production was transferred to the Opera House in Perm, Russia, where the production was conducted by Teodor Currentzis. In 2017, the work received a “Golden Mask”, the most prestigious Russian theater award, in three categories (Teodor Currentzis, Best Conductor; Nadezhda Pavlova, Best Female Singer; Robert Wilson, Best Lighting Design)..
Royal Opera House, Covent Garden, London Live showing of Verdi's Traviata with subsequent re-screenings Violetta, a Parisian courtesan suffering from tuberculosis, is throwing a party to celebrate her recovery. A young nobleman, Alfredo, plans to attend, and has long been in love with Violetta. Before long, Violetta has fallen for him as well, but Alfredo's father disapproves of their relationship. He convinces Violetta to leave Alfredo for the sake of his family's image, not realising how ill she really is. Richard Eyre's production of 'La Traviata' immerses the audience in the indulgence of 19th Century Paris, a vivid setting for Verdi's famous score..
Time is running out for Violetta. Her illness is relentless, as are her feelings for her young admirer. As her past as a Parisian courtesan catches up with her, his provincial family is determined to break up their scandalous affair. Verdi’s La traviata is without a doubt one of the most moving stories in the operatic canon. Teatro Real’s semi-staged concert version recorded in July was one of the first productions to be put on worldwide after the lockdown. The ambitious undertaking weaves reality into its staging concept and features a spectacular cast led by Marina Rebeka, Michael Fabiano and Artur Ruciński..
Tatjana Gürbaca directs the story of one of Verdi’s most famous heroins - Violetta Valéry - inspired by Alexandre Dumas's La Dame aux Camélias..
Alfredo, a young man from the provinces, falls in love with Violetta, the stylish toast of Paris. But she’s not the marrying kind – at least not until now. However, their dreams are threatened by both a merciless society that condemns Violetta’s racy past and an equally merciless disease. Russian soprano Venera Gimadieva portrays the iconic role of Violetta, alongside American tenor Michael Fabiano as Alfredo. The visual beauty of Tom Cairns’s opulent production aptly echoes the irresistible allure of this beloved opera..
Giving up her life of parties and wealthy lovers, a Parisian courtesan decides to settle down with her young admirer. But his provincial family is determined to break up the scandalous affair. Filled with passionate and beautiful music – including the famous duets ‘Libiamo ne’ lieti calici’ and ‘Un dì, felice, eterea’ – it’s easy to see why Verdi’s tragedy about a fallen woman has become the most popular opera of our time. Prix de la critique Claude Rostand winner Oriol Tomas directs this new production at Icelandic Opera..
This DVD of a live 2005 performance from the Zürich Opera under the musical direction of Franz Welser-Möst has many things to recommend it -- the young tenor Piotr Beczala as Alfredo, the marvelous Thomas Hampson as Giorgio Germont, the playing of the Zurich Opera orchestra, the simple but effective sets by by Erich Wonder, the uncluttered stage direction by Jürgen Flimm. It also has some flaws: strangely variable volume level of the recorded sound sometimes coming on so loud as to make one reach for the volume control, and the uneven performance of the Violetta, Eva Mei who, for all her merits, gives a dramatically effective performance marred by occasional difficulties with vocal production. Still, overall I felt this was a moving production, one that I would recommend, although perhaps not as an only DVD of one of Verdi's most popular operas..
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