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Composer: Giuseppe Verdi

VERDI "LA TRAVIATA"

Performance history

The first performance of the opera was on 6 March 1853 at the La Fenice Opera House in Venice.

It was jeered at times by the audience, who directed some of their scorn at the casting of soprano Fanny Salvini-Donatelli in the lead role of Violetta. Though she was an acclaimed singer, they considered her to be too old (at 38) and too overweight to credibly play a young woman dying of consumption. (Verdi had previously attempted to persuade the manager of La Fenice to re-cast the role with a younger woman, but with no success.) Nevertheless, the first act was met with applause and cheering at the end; but in the second act, the audience began to turn against the performance, especially after the singing of the baritone (Felice Varesi) and the tenor (Lodovico Graziani). The day after, Verdi wrote to his friend Muzio in what has now become perhaps his most famous letter: "La traviata last night a failure. Was the fault mine or the singers'? Time will tell."

La traviata is an opera in three acts by Giuseppe Verdi set to an Italian libretto by Francesco Maria Piave. It is based on La dame aux Camélias (1852), a play adapted from the novel by Alexandre Dumas, fils. The title La traviata means literally The Fallen Woman, or perhaps more figuratively, The Woman Who Goes Astray. It was originally entitled Violetta, after the main character.

Piave and Verdi wanted to follow Dumas in giving the opera a contemporary setting, but the authorities at La Fenice insisted that it be set in the past, "c. 1700". It was not until the 1880s that the composer and librettist's original wishes were carried out and "realistic" productions were staged.

 

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VERDI "LA TRAVIATA" 

Venue: Teatro La Fenice

Conductor: Diego Matheuz

Director: Robert Carsen

Scene and Costumes: Patrick Kinmonth

Coreographie: Philippe Giradeau

 

NEXT Show:30/08/2013

LAST Show:28/09/2013

DURATION : 3h
With subtitles in italian or in english
Characters and main interpreters

Violetta Valery
Ekaterina Bakanova (30/8, 1, 8, 25, 27/9)
Jessica Nuccio (31/8, 10, 17, 21, 28/9)
Elena Monti (3, 14, 19, 24/9)

Alfredo Germont
Piero Pretti (30/8, 1, 17, 19, 21, 25, 27/9)
Shalva Mukeria (31/8, 3, 8, 10, 14,  24, 28/9)

Giorgio Germont
Dimitri Platanias (30/8, 1, 8, 17, 21, 25, 27/9)
Simone Piazzola (31/8, 3, 10, 14, 19, 24, 28/9)

Flora Bervoix
Chiara Fracasso

Annina
Sabrina Vianello

Gastone
Iorio Zennaro

Il barone Douphol
Armando Gabba

Il dottor Grenvil
Luca Dall’Amico

Il marchese d’Obigny
Matteo Ferrara

maestro concertatore e direttore
Diego Matheuz

regia
Robert Carsen

scene e costumi
Patrick Kinmonth

coreografia
Philippe Giraudeau

light designer
Robert Carsen e Peter Van Praet

Orchestra e Coro del Teatro La Fenice 
maestro del Coro Claudio Marino Moretti 

con sopratitoli in italiano e in inglese

allestimento Fondazione Teatro La Fenice



allestimento Fondazione Teatro La Fenice



Fondazione Teatro La Fenice di Venezia
Campo San Fantin, 1965
30124 Venezia


Teatro La Fenice ("The Phoenix") is an opera house in Venice, Italy. It is one of the most famous theatres in Europe, the site of many famous operatic premieres. Its name reflects its role in permitting an opera company to "rise from the ashes" despite losing the use of two theatres (to fire and legal problems respectively). Since opening and being named La Fenice, it has burned and been rebuilt twice more.

After various delays, reconstruction began in earnest in 2001. In 650 days, a team of two hundred plasterers, artists, woodworkers, and other craftsman succeeded in recreating the ambience of the old theatre at a cost of some €90 million.

La Fenice was rebuilt in 19th-century style on the basis of a design by architect Aldo Rossi and using still photographs from the opening scenes of Luchino Visconti's 1954 film Senso, which was filmed in the house, in order to obtain details of its design. It reopened on 14 December 2003 with an inaugural concert of Beethoven, Wagner, and Stravinsky. The first opera production was La traviata in November 2004.

Critical response to the rebuilt La Fenice was mixed. The music critic of the paper Il Tempo, Enrico Cavalotti, was satisfied. He found the colours a bit bright but the sound good and compact. However, for his colleague Dino Villatico of the La Repubblica the acoustics of the new hall lacked resonance and the colours were painfully bright. He found it "kitsch, a fake imitation of the past". He said that "the city should have had the nerve to build a completely new theater; Venice betrayed its innovative past by ignoring it". However, for many Venetians, a painful wound in the historical, much-admired, much adored cityscape has begun to heal

 


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