Sung in Italian with English supertitles.
Approximately 3 hours with 2 intermissions.

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The most irresistible courtesan in opera — onstage at the Winspear for the very first time — in this lavish and lovely production from Florida Grand Opera! Set in 19th-century Paris, where the young heir to a distinguished family name falls passionately in love with a woman of uncertain virtue. Will she listen to his father’s pleas and abandon the only man who can truly touch her heart, in order to save him? The Dallas Opera has assembled a staggering cast that includes tenor James Valenti as the romantic suitor, bass-baritone Laurent Naouri as his resolute father, and — continuing in the footsteps of the legendary Maria Callas, who first brought this role to the Dallas Opera stage in 1958 — Greek soprano Myrtò Papatanasiu in her American debut as Violetta Valéry, “The Fallen Woman.” Glorious music, poignant romance and a “Verdi” tearful ending to remind us why we love opera today, tomorrow, and forever!

The Joy and Ronald Mankoff Pre-Opera Talks for Tristan & Isolde will be given by Hank Hammett one hour before each performance in Hamon Hall at the Winspear Opera House. Learn more.

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Synopsis

Act 1

The salon in Violetta’s house

Violetta Valéry, a famed courtesan, throws a lavish party at her Paris salon to celebrate her recovery from an illness. Gastone, a count, has brought with him his friend, the young nobleman Alfredo Germont, who has long adored Violetta from afar. While walking to the salon, Gastone tells Violetta that Alfredo loves her, and that while she was ill, he came to her house every day. Alfredo joins them, admitting the truth of Gastone’s remarks.

The Baron, Violetta’s current lover, waits nearby to escort her to the salon where the Baron is asked to give a toast, but he refuses, and the crowd turns to Alfredo (Alfredo, Violetta, chorus: Libiamo ne’ lieti calici — “Drinking song”).

From the next room, the sound of the orchestra is heard and the guests move there to dance. Feeling dizzy, Violetta asks her guests to go ahead and to leave her to rest until she recovers. While the guests dance in the next room, Violetta looks at her pale face in her mirror. Alfredo enters and expresses his concern for her fragile health, later declaring his love for her (Alfredo, Violetta: Un dì, felice, eterea — “The day I met you”). At first she rejects him because his love means nothing to her, but there is something about Alfredo that touches her heart. He is about to leave when she gives him a flower, telling him to return it when it has wilted. She promises to meet him the next day.

After the guests leave, Violetta wonders if Alfredo could actually be the one in her life (Violetta: Ah, fors’è lui — “Perhaps he is the one”). But she concludes that she needs freedom to live her life (Violetta: Sempre libera — “Always free”). From off stage, Alfredo’s voice is heard singing about love as he walks down the street.

Act 2

Scene 1: Violetta’s country house outside Paris

Three months later, Alfredo and Violetta are living together in a peaceful country house outside Paris. Violetta has fallen in love with Alfredo and she has completely abandoned her former life. Alfredo sings of their happy life together (Alfredo: De miei bollenti spiriti — “Wild my dream of ecstasy”). Annina, the maid, arrives from Paris, and, when questioned by Alfredo, tells him that she went there to sell the horses, carriages and everything owned by Violetta to support their country lifestyle.

Alfredo is shocked to learn this and leaves for Paris immediately to settle matters himself. Violetta returns home and receives an invitation from her friend, Flora, to a party in Paris that evening. Alfredo’s father, Giorgio Germont, is announced and demands that she break off her relationship with his son for the sake of his family, since he reveals that Violetta’s relationship with Alfredo has threatened his daughter’s engagement (Giorgio: Pura siccome un angelo — “I have a daughter as pure as an angel”) because of Violetta’s reputation. Meanwhile, reluctantly, he becomes impressed by Violetta’s nobility, something which he did not expect from a courtesan. She responds that she cannot end the relationship because she loves him so much, but Giorgio pleads with her for the sake of his family. With growing remorse, she finally agrees (Violetta, Giorgio: Dite alla giovine — “Say to this child of thine”) and says goodbye to Giorgio. In a gesture of gratitude for her kindness and sacrifice, Giorgio kisses her forehead before leaving her weeping alone.

Violetta gives a note to Annina to send to Flora accepting the party invitation and, as she is writing a farewell letter to Alfredo, he enters. She can barely control her sadness and tears; she tells him repeatedly of her unconditional love (Violetta: Amami Alfredo — “Love me, Alfredo”). Before rushing out and setting off for Paris, she hands the farewell letter to her servant to give to Alfredo.

Soon, the servant brings the letter to Alfredo and, as soon as he has read it, Giorgio returns and attempts to comfort his son, reminding him of his family in Provence (Giorgio: Di Provenza il mar — “In Provence”). Alfredo suspects the Baron is behind his separation with Violetta and the party invitation, which he finds on the desk, strengthens his suspicions. He determines to confront Violetta at the party. Giorgio tries to stop Alfredo, but he rushes out.

Scene 2: Party at Flora’s house

At the party, the Marquis tells Flora that Violetta and Alfredo have separated. She calls for the entertainers to perform for the guests (Chorus: Noi siamo zingarelle — “We’re youthful gypsies”); (Chorus: Di Madride noi siam mattadori — “We are bullfighters from Madrid”). Gastone and his friends join the matadors and sing (Gastone, chorus, dancers: E Piquillo, un bel gagliardo — “Twas Piquillo, so young and so daring”).

Violetta arrives with Baron Douphol. They see Alfredo at the gambling table. When he sees them, Alfredo loudly proclaims that he will take Violetta home with him. Feeling annoyed, the Baron goes to the gambling table and joins him in a game. As they bet, Alfredo wins some large sums until Flora announces that supper is ready. Alfredo leaves with handfuls of money.

As everyone is leaving the room, Violetta has asked Alfredo to see her. Fearing that the Baron’s anger will lead him to challenge Alfredo to a duel, she gently asks Alfredo to leave. Alfredo misunderstands her apprehension and demands that she admit that she loves the Baron. In grief, she makes that admission and, furiously, Alfredo calls the guests to witness what he has to say (Questa donna conoscete? — “You know this lady?”). He humiliates and denounces Violetta in front of the guests, and then throws his winnings at her feet. She falls, fainting onto the floor. The guests reprimand Alfredo: “Leave at once, we despise you. You have insulted a noble lady.”

In search of his son, Giorgio enters the hall and, knowing the real significance of the scene, denounces his son’s behavior (Giorgio, Alfredo, Violetta, chorus: Di sprezzo degno, se stesso rendo — “Worthy of contempt is the man”).

Flora and the ladies attempt to persuade Violetta to leave the dining room, but Violetta turns to Alfredo: Alfredo, Alfredo, di questo core non puoi comprendere tutto l’amore — “Alfredo, Alfredo, you can’t imagine the love in my heart for you.”

Act 3

Violetta’s bedroom

Dr. Grenvil tells Annina that Violetta will not live long since her tuberculosis has worsened. Alone in her room, Violetta reads a letter from Alfredo’s father telling her that the Baron was only wounded in his duel with Alfredo; that he has informed Alfredo of the sacrifice she has made for him and his sister; and that he is sending his son to see her as quickly as possible to ask for her forgiveness. But Violetta senses it is too late (Violetta: Addio del passato — “So closes my sad story”).

Annina rushes in the room to tell Violetta of Alfredo’s arrival. The lovers are reunited and Alfredo suggests that they leave Paris (Alfredo, Violetta: Parigi, o cara, noi lasceremo — “Dearest, we’ll leave Paris” ).

But it is too late: she knows her time is up (Alfredo, Violetta: Gran Dio! morir si giovane — “O, God! to die so young”). Alfredo’s father enters with the doctor, regretting what he has done. After singing a duet with Alfredo, Violetta suddenly revives, exclaiming that the pain and discomfort has left her. A moment later, she dies in Alfredo’s arms.

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Cast Biographies

Although we are always happy to support the careers of local artists, the Dallas Opera attracts international casts from as far away as Russia and China in order to bring North Texas audiences the very best the world has to offer. This is the place where opera legend Plácido Domingo made his U.S. debut. Opera’s greatest stars are always shining at the Dallas Opera!

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Facts

Conversation Starter

At the insistence of the censors, the earliest productions of this opera were set in the style of Louis XIV (early 1700s) with powdered wigs and knee-britches, rather than the mid-19th century style in which Verdi intended it to be performed, and in which it is most often performed today. This oddity persisted in some Italian opera houses until the 1920s.

Did You Know?

For the span of a generation, Verdi had no competition whatsoever in his native Italy. From the death of Donizetti to the rise of Ponchielli, the only secular Italian music that survives today, are the works of Giuseppe Verdi.

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Artistic Director Jonathan Pell’s Recommended Listening

Selecting one recording from the many, many available is daunting, but if I have to recommend just one, it would have to be the CD starring Montserrat Caballé (who made her American debut in this role with the Dallas Opera in 1965), Carlo Bergonzi and Sherrill Milnes, conducted by Georges Prêtre (RCA #70778, available on Amazon here). It also has a wonderful supporting cast, including Dorothy Krebill as Flora Bervoix, who many Dallas Opera patrons know as the wife of former General Director Plato Karayanis. Another wonderful recording, this one taken from a live performance at Portugal’s San Carlos Opera House, stars Maria Callas and Alfredo Kraus, two great artists with a long association with the Dallas Opera. This famous performance inspired a Broadway play by award-winning author Terrence McNally, called not surprisingly, The Lisbon Traviata. This CD, long available only as an underground “pirate” recording, is now available commercially (EMI Classics #56330, available on Amazon here).

Recommended Reading

• Violetta and Her Sisters: The Lady of the Camillias: Responses to the Myth edited by Nicholas John

Performances

Friday, April 13, 2012 7:30 PM	Buy
Sunday, April 15, 2012 2:00 PM	Buy
Wednesday, April 18, 2012 7:30 PM	Buy
Saturday, April 21, 2012 7:30 PM	Buy
Friday, April 27, 2012 7:30 PM	Buy
Sunday, April 29, 2012 2:00 PM	Buy

Or, buy a subscription to enjoy multiple operas and TDO Subscriber Benefits!

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Venue

Performances of La traviata take place in the Margaret McDermott Performance Hall in the Margot & Bill Winspear Opera House.

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• Frequently Asked Questions

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