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Opera in three acts

Composer Giuseppe Verdi · Libretto by Francesco Maria Piave after Alexandre Dumas d.J.
In Italian with German surtitles

Sunday, 26. May 2013
07:00 pm – 10:05 pm
Nationaltheater

Duration est. 3 hours 05 minutes · Intervals between 1. Akt and 2. Akt (est. 07:35 pm - 08:05 pm ) between 2. Akt and 3. Akt (est. 09:10 pm - 09:30 pm )

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Cast

Musikalische Leitung
Carlo Montanaro
Inszenierung
Günter Krämer
Bühne
Andreas Reinhardt
Kostüme
Carlo Diappi
Licht
Wolfgang Göbbel
Chor
Sören Eckhoff

Violetta Valéry
Ermonela Jaho
Flora Bervoix
Heike Grötzinger
Annina
Silvia Hauer
Alfredo Germont
Piotr Beczala
Giorgio Germont
Fabio Maria Capitanucci
Gaston
Kevin Conners
Baron Douphol
Christian Rieger
Marquis d'Obigny
Tareq Nazmi
Doktor Grenvil
Christoph Stephinger
Giuseppe
Joshua Stewart
Ein Diener Floras
Tim Kuypers
Ein Gärtner
Rafal Pawnuk
  • Bayerisches Staatsorchester
  • Chorus of the Bayerische Staatsoper

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Men don't fall in love with courtesans! That's the opinion of Alfredo's father after his son moves in with the mortally ill Violetta Valéry. In her love for Alfredo Violetta even agrees. She leaves him, dies poor, ill – still dreaming of the happiness of true love. One of Verdi's most beloved operas continues to hold the mirror up to society and its hypocritical morality. An exemplary production! See it!

 

Scene One

Alfredo Germont, a young man from Provence, is introduced by Gaston, Vicomte de Letorieres, to Violetta Valery, a famous courtesan. She is giving a soiree in her house in Paris. Gaston knows how much Alfredo admires Valery, but initially she pays hardly any attention to Germont.

When Baron Douphol, with whom Violetta is having an affair, refuses to propose a toast in celebration of the evening, Alfredo, urged on by Violetta, declares his willingness to do so. He sings a passionate song in praise of love with Violetta and the party guests joining in.

As the guests go off to dance, Violetta suddenly feels faint and has to remain behind. Alfredo makes a declaration of love. Violetta turns him down with gentle scorn. Touched however by Alfredo's candid overtures, she presents him with a camellia: he may return when the flower has withered, that is, within a day. At dawn the guests depart.

Alone, Violetta reflects on the senselessness of her past life. But still she refues to accept that she is falling in love with Alfredo.


Scene Two

Violetta has retreated to a country-house with Alfredo. Far away from Paris, she wants to enjoy some happiness with her beloved.

Alfredo learns from the servant Annina that Violetta intends to sell her valuables in order to support them.

After Alfredo has left the house in order to procure the necessary money himself, his father pays Violetta an unexpected visit. He asks that she break off the relationship with his son. Giorgio Germont demands this sacrifice because a liaison between his son and a courtesan would compromise his family and endanger his daughter's proposed marriage.

Violetta is prepared to make the sacrifice and leave Alfredo on condition that Giorgio Germont reveal to his son after her death the true reasons behind her actions.

Violetta sends Annina with a message to her friend Flora Bervoix in Paris that she will attend her soiree that evening. Then she writes Alfredo a farewell letter. On the pretext of wanting to prepare for his father's visit, Violetta leaves the unsuspecting Alfredo and returns secretly to Paris.

A few moments later a messenger brings Alfredo Violetta's letter. She informs him that she has decided to return to her former life.

Alfredo's father tries in vain to persuade his son to return to the family. Alfredo rushes off to Paris to Flora's salon.


Scene Three

There is dancing, singing and gambling at the courtesan Flora Bervoix's soiree. Alfredo is looking for Violetta. He appears to be desinterested when asked about his mistress. The guests invite him to take a seat at the gambling table.

Soon after Violetta enters the room on the arm of her former lover, Baron Douphol. At the gambling table Alfredo provokes not only the Baron but also Violetta with his remarks.

After the guests have sat down to dinner, Alfredo is able to speak with Violetta alone. She pretends to be in love with the Baron and implores Alfredo to leave at once, as she is afraid he might lose his life in a duel with Douphol.

In a state of extreme agitation Alfredo summons the guests. In front of the assembled people he throws the money he has won at Violetta's feet. Alfredo's father enters at this moment and rebukes his son for his lack of self-control. The emotional upheaval has drained Violetta. Rejected by the others, she slowly leaves the room.


Scene Four

Some time later. Besides her deteriorating health Violetta is now financially ruined. Doctor Grenvil consoles the dying woman.

In a letterfrom Giorgio Germont,Violetta learns that there has been a duel between Alfredo and Douphol. Germont announces furthermore that his son will be arriving.

Violetta feels that death is imminent. Outside a carnival procession passes by. Annina prepares Violetta to meet Alfredo who has returned.

The lovers embrace passionately. Alfredo pleads with Violetta for forgiveness. Violetta experiences one last surge of life, then succumbs. Doctor Grenvil and Giorgio Germont find a dying woman.

Translation: Christopher Balme
© Bayerische Staatsoper

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Biographies

Carlo Montanaro begann seine musikalische Karriere 1991 als Geiger im Orchestra del Maggio Musicale Fiorentino, bevor er, gefördert durch Zubin Mehta, als Student an der Hochschule für Musik in Wien eine Laufbahn als Dirigent einschlug. Seit 2001 gastiert er mit Schwerpunkt auf den Werken des italienischen Repertoires u.a. an den Opernhäusern in Rom, Palermo, Frankfurt, Berlin, Hamburg, Dresden, Florenz, Athen, Warschau und Venedig. Bedeutende Stationen waren Verdis Un ballo in maschera an der New Israeli Opera von Tel Aviv, sein US-Debüt in Colorado mit Lʼelisir dʼamore, La traviata am Teatro alla Scala Mailand, Madama Butterfly in Tokio sowie Gounods Roméo et Juliette in Verona. 2011 wurde er zum Musikdirektor des Teatr Wielki in Warschau berufen. (Stand 2014)

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