Deutsche Oper Berlin
La traviata
Opera
Bismarckstraße 35, 10627 Berlin
Giuseppe Verdi
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Description
In setting »La Dame aux Camélias« to music, Verdi explored, in a shockingly direct way, two big themes of the 19th century: prostitution and consumption. Götz Friedrich’s production stresses the futility of Violetta Valéry’s attempt to escape her fate …
About the work
Violetta Valery, living in kept splendour at the expense of Baron Douphol, has apparently recovered from a serious illness. To celebrate, she throws a party where she meets and falls for Alfredo Germont. As their love for each other is frowned upon, they set up house outside of Paris. Alfredo’s father insists that she break with his son in order not to jeopardise the marriage prospects of Alfredo’s sister. Violetta accedes to his wish and cuts off relations. In a showdown at another party Violetta tries to convince Alfredo that she’s in love with the Baron, causing Alfredo to hurl his gambling winnings at her feet, calling them “fees for services rendered”. Soon afterwards, at the height of the Paris carnival, Violetta is on her deathbed. She receives Alfredo, who has heard from his father her real reason for leaving him. Violetta forgives him, gives him her blessing and dies.
Verdi’s only opera to be set in middle-class circles of mid-nineteenth-century Paris was based on “La dame aux camélias”, an acclaimed novel by Alexandre Dumas fils. The novel referenced the death of Marie Duplessis, a 23-year-old courtesan, from TB on 3rd February 1847 as the occasion for a critical study of the Parisian demi-monde. Where Dumas’s main characters form part of a tight social network, Verdi and librettist Francesco Maria Piave eliminate anything that isn’t directly linked to the clashes between Violetta, Alfredo and father, Giorgio Germont. This drama of interior emotions focuses on the three stations on Violetta’a via: love, renunciation and death.
About the production
Götz Friedrich gave the opera the tragic slant of a requiem by telling Violetta’s story in the form of flashbacks, which begin with the prelude presenting Violetta lying on a white deathbed on a stark stage that resembles a massive tomb. She rises from the bed (which promptly becomes a chaise longue), pulls on a ballroom gown and turns to receive Paris’s party people disgorging into the room. The tale is unsentimentally staged, with no hint of trivial directness. The focus is on the drama’s interiority and the atmosphere of death and doom.
About the work
Violetta Valery, living in kept splendour at the expense of Baron Douphol, has apparently recovered from a serious illness. To celebrate, she throws a party where she meets and falls for Alfredo Germont. As their love for each other is frowned upon, they set up house outside of Paris. Alfredo’s father insists that she break with his son in order not to jeopardise the marriage prospects of Alfredo’s sister. Violetta accedes to his wish and cuts off relations. In a showdown at another party Violetta tries to convince Alfredo that she’s in love with the Baron, causing Alfredo to hurl his gambling winnings at her feet, calling them “fees for services rendered”. Soon afterwards, at the height of the Paris carnival, Violetta is on her deathbed. She receives Alfredo, who has heard from his father her real reason for leaving him. Violetta forgives him, gives him her blessing and dies.
Verdi’s only opera to be set in middle-class circles of mid-nineteenth-century Paris was based on “La dame aux camélias”, an acclaimed novel by Alexandre Dumas fils. The novel referenced the death of Marie Duplessis, a 23-year-old courtesan, from TB on 3rd February 1847 as the occasion for a critical study of the Parisian demi-monde. Where Dumas’s main characters form part of a tight social network, Verdi and librettist Francesco Maria Piave eliminate anything that isn’t directly linked to the clashes between Violetta, Alfredo and father, Giorgio Germont. This drama of interior emotions focuses on the three stations on Violetta’a via: love, renunciation and death.
About the production
Götz Friedrich gave the opera the tragic slant of a requiem by telling Violetta’s story in the form of flashbacks, which begin with the prelude presenting Violetta lying on a white deathbed on a stark stage that resembles a massive tomb. She rises from the bed (which promptly becomes a chaise longue), pulls on a ballroom gown and turns to receive Paris’s party people disgorging into the room. The tale is unsentimentally staged, with no hint of trivial directness. The focus is on the drama’s interiority and the atmosphere of death and doom.
Cast
Chor der Deutschen Oper Berlin
Chorus
Adela Zaharia
Violetta Valéry
Nina Solodovnikova
Violetta Valéry
Rosa Feola
Violetta Valéry
Elena Tsallagova
Violetta Valéry
Amitai Pati
Alfredo Germont
Attilio Glaser
Alfredo Germont
Andrei Danilov
Alfredo Germont
N. N.
Alfredo Germont
Markus Brück
Giorgio Germont
Thomas Lehman
Giorgio Germont
Amartuvshin Enkhbat
Giorgio Germont
Karis Tucker
Flora Bervoix
Arianna Manganello
Flora Bervoix
Alexandra Oomens
Annina
Maria Vasilevskaya
Annina
Chance Jonas-O'Toole
Gaston
Kieran Carrel
Gaston
Michael Bachtadze
Baron Douphol
Stephen Marsh
Marquis D'Obigny
Patrick Guetti
Doktor Grenvil
Gerard Farreras
Doktor Grenvil
Kangyoon Shine Lee
Giuseppe
Chance Jonas-O'Toole
Giuseppe
Geon Kim
A messenger
Jared Werlein
A messenger
Heiner Boßmeyer
A servant
Orchester der Deutschen Oper Berlin
Orchestra
Dominic Limburg
Conductor
Friedrich Praetorius
Conductor
Giulio Cilona
Conductor
Vitali Alekseenok
Conductor
Götz Friedrich
Director
Frank Philipp Schlößmann
Stage-design
Klaus Bruns
Costume-design
Ulrich Niepel
Lighting
Thomas Richter
Chorus Master
Klaus Beelitz
Choreographer
Dates
Deutsche Oper Berlin
Bismarckstraße 35, 10627 Berlin
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