La traviata

La traviata (Italian: [la traviˈaːta, -aˈvjaː-]) is an opera in three acts by Giuseppe Verdi. The words for the singing were written by Francesco Maria Piave. It tells the story from La Dame aux camélias, a novel by Alexandre Dumas fils. The opera was first called Violetta, after the main character. It was performed for the very first time on 6 March 1853 at La Fenice opera house in Venice.

Piave and Verdi wanted to set the story in their own time, but the people at La Fenice asked for it to look like it was from around 1700. It was not until the 1880s that shows were done the way the creators first planned. Today, La traviata is very well-loved and is one of the operas most often performed all around the world.

Composition history

Between 1851 and 1853, Giuseppe Verdi was very busy creating operas. After finishing Rigoletto, he started thinking about a new opera. During a visit to Paris in 1852, Verdi saw a play called The Lady of the Camellias by Alexander Dumas fils. This inspired him to begin working on what would become La traviata.

Verdi worked with librettist Francesco Maria Piave to develop the story. They faced challenges, such as censorship rules in Venice and finding the right singers for the roles. Despite these difficulties, Verdi remained determined to create this opera based on Dumas's work.

Performance history

When La traviata was first shown, some people in the audience did not like the singer chosen for the main role. They thought she was too old and not quite right for the part. But the first part of the show was liked very much. Later performances were much better, especially when a new singer played the main character.

The opera was shown in many cities after that. It was performed in Madrid, Vienna, Barcelona, London, and New York. Some people thought the story was not proper, but many loved the music. Over time, La traviata became one of the most popular operas ever written.

Roles

Synopsis

The opera La traviata tells the story of Violetta, a woman who loves a man named Alfredo. In the first part, they meet and Violetta begins to care for him, though she is unsure if she can trust him.

In the second part, Violetta and Alfredo live happily together, but Alfredo's father asks Violetta to end their relationship to protect his daughter's marriage plans. Violetta agrees to break up with Alfredo because she loves him, and he is heartbroken when he learns the truth.

In the final part, Alfredo rushes to see Violetta, but she is very ill. They reunite, but sadly, Violetta passes away shortly after, still loving Alfredo.

Prelude to act 1

New York Philharmonic, Arturo Toscanini, 1929

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Place: Paris and its vicinity

Time: Beginning of the 19th century

Act 1

The salon in Violetta's house

Libiamo ne' lieti calici

Maria Callas and Giuseppe Di Stefano, Mexico City, 3 June 1952

Baron Douphol, Violetta's current lover, waits nearby to escort her to the salon. Once there, the Baron is asked to give a toast, but refuses, and the crowd turns to Alfredo, who agrees to sing a brindisi – a drinking song (Alfredo, Violetta, chorus: Libiamo ne' lieti calici – "Let's drink from the joyful cups").

From the next room, the sound of the orchestra is heard and the guests move there to dance. After a series of severe coughs and almost fainting, Violetta begins to feel dizzy and 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 – "One day, happy and ethereal"). 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, which will be the very next day.

"È strano! ... Ah, fors'è lui" / "Sempre libera".ogg)

Act 1 finale, sung by Lucrezia Bori in 1910 for Edison Records

After the guests leave, Violetta wonders if Alfredo could actually be the one in her life (Violetta: È strano! ... Ah, fors' è lui – "Ah, perhaps he is the one"). But she concludes that she needs freedom to live her life (Violetta, Alfredo: 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 / Il giovanile ardore – "The youthful ardor of my ebullient spirits"). 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, iddio mi diè una figlia – "Pure as an angel, God gave me a daughter") because of Violetta's reputation. Meanwhile, he reluctantly becomes impressed by Violetta's nobility, something which he did not expect from someone with her past. She responds that she cannot end the relationship because she loves Alfredo so much, but Giorgio pleads with her for the sake of his family. With growing remorse, she finally agrees (Violetta, Giorgio: Dite alla giovine, sì bella e pura, – "Tell the young girl, so beautiful and pure,") 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, amami quant'io t'amo – "Love me, Alfredo, love me as I love you"). 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, il suol chi dal cor ti cancellò? – "Who erased the sea, the land of Provence from your heart?"). Alfredo suspects that the Baron is behind his separation from Violetta, and the party invitation, which he finds on the desk, strengthens his suspicions. He decides 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, much to the amazement of everyone who had previously seen the happy couple. She calls for the entertainers to perform for the guests (Chorus: Noi siamo zingarelle venute da lontano – "We are gypsy girls who have come from afar"; Di Madride noi siam mattadori – "We are matadors from Madrid"). Gastone and his friends join the matadors and sing (Gastone, chorus, dancers: È Piquillo un bel gagliardo Biscaglino mattador – "Piquillo is a bold and handsome matador from Biscay").

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 fight, she gently asks Alfredo to leave. Alfredo misunderstands her apprehension and demands that she admit that she cares for 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 woman?"). He humiliates and denounces Violetta in front of the guests and then throws his winnings at her feet in payment for her services. She faints onto the floor. The guests reprimand Alfredo (Di donne ignobile insultatore, di qua allontanati, ne desti orror! - "Ignoble insulter of women, go away from here, you fill us with horror!").

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 sè stesso rende chi pur nell'ira la donna offende. – "A man, who even in anger, offends a woman renders himself deserving of contempt.").

Flora and the ladies attempt to persuade Violetta to leave the dining room, but Violetta turns to Alfredo (Violetta: Alfredo, Alfredo, di questo core non-puoi comprendere tutto l'amore... – "Alfredo, Alfredo, you can't understand all the love in this heart...").

Act 3

Violetta's bedroom

"Addio del passato"

Amelita Galli-Curci (1943)

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"Parigi, o cara, noi lasceremo"

Fernando De Lucia, Giuseppina Huguet

Dr. Grenvil tells Annina that Violetta will not live long since her illness has worsened. Alone in her room, Violetta reads a letter from Alfredo's father telling her that the Baron was only wounded in his fight with Alfredo. He has informed Alfredo of the sacrifice she has made for him and his sister; and 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 bei sogni ridenti – "Farewell, lovely, happy dreams of the past").

Annina rushes into 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 – "We will leave Paris, O beloved").

But it is too late: she knows her time is ending (Alfredo, Violetta: Gran Dio!...morir sì giovane – "Great God!...to pass away 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 have left her. A moment later, she passes away in Alfredo's arms.

Instrumentation

The opera uses an orchestra with many different instruments like flutes, oboes, clarinets, bassoons, horns, trumpets, trombones, harp, and strings. There is also a special on-stage band called the Banda. The composer did not fully write out all the parts for this band, so different theaters used their own versions depending on what instruments they had available.

Music

The music of the opera La traviata starts gently with soft, high strings that show the main character, Violetta. It then changes to lively dance music when the curtain rises. One famous part is called the "Brindisi," where an offstage band plays waltzes that give a fun, Parisian feeling. At the end of the first act, Violetta sings a powerful and fancy song called "Sempre libera" about staying free.

The opera has an important song between Violetta and a man named Germont in the second act. The music changes with the story. Unlike other operas, La traviata only takes place inside buildings, making it feel close and emotional. Violetta's music changes throughout the story, starting with fast, excited singing, then becoming more serious, and finally gentle as her story ends.

Recordings

Film versions

There have been several film versions of the opera La traviata. In 1967, a film directed by Mario Lanfranchi featured Anna Moffo as Violetta and Franco Bonisolli as Alfredo. In 1983, Franco Zeffirelli directed a version with Teresa Stratas as Violetta and Plácido Domingo as Alfredo. In 2012, a documentary called Becoming Traviata showed the rehearsals for a production of the opera featuring Natalie Dessay and Charles Castronovo.

Inspired music

Several musicians were inspired by the opera La traviata. An Italian flautist and composer named Donato Lovreglio created a piece called "Concert Fantasy on themes from Verdi's La traviata", using music from the opera. A Spanish composer named Julián Arcas also wrote a fantasy using themes from the same opera.

In popular culture

A piece of music from the opera can be heard in the second episode of the 2025 Italian miniseries Sandokan. This is done in a way that doesn’t match the time period, since the story happens in 1841, twelve years before the opera was even created.