Name: La Traviata
Start: 2016-08-19T00:00:00.000Z
End: 2017-05-08T00:00:00.000Z
Location: Palco

Organization

Direzione d'orchestra

Anton Torbeev

Valery Gergiev

Regia

Charles Roubaud

Anna Shishkina

Scenografia

Bernard Arnould

Costumi

Katia Duflot

Luci

Igor Karmanov

Coreografia

Dmitry Korneyev

Direzione del coro

Larisa Shveikovskaya

Anna Pipia

Cantante

Soprano

Alena Diyanova

Violetta Valéry

Tenore

Alexei Kostyuk

Alfredo Germont

Baritono

Dmitry Nelasov

Giorgio Germont

Irina Kolodyazhnaya

Flora

Mezzosoprano

Alina Mikhailik

Anina

Ilya Astafurov

Gastone

Gennady Akhmedov

Il barone Douphol

Basso

Sergei Pleshivtsev

Il marchese d'Obigny

Yevgeny Plekhanov

Il dottore Grenvil

Andrei Ivanov

Giuseppe

Vladimir Volkov

Commissionario

Pavel Smelkov

Elena Stikhina

Daria Cherniy

Elena Tretyakova

Oleg Ivanov

Vyacheslav Vasilyev

Vadim Soloviev

Vsevolod Marilov

Oxana Shilova

Primorsky Stage of the Mariinsky Theatre

italiano

La Traviata -  (La traviata)

Vladivostok

Russia

Big Hall

La traviata

Public

inglese

russo

Approvato

Palco

Accordionist

Strumento

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianista

Recorder Player

Saxophonist

Suonatore di flauto

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da Gambist

Viola d’amore Player

Violinista

Violino Piccolo Player

Violista

Altro

Ballando

Chorus Director

Composizione

Coro

Docente di canto

Drammaturgia

Emittente radiotelevisiva

Extra

Illustrator

Insegnante

Libretto

Maestro ripassatore

Orchestra

Orchestra Operations

Parrucco

Photographer

Poet

Produzione esecutiva

Recitazione

Stage Manager

Suono

Traduzione

Trucco

Video

Wig & Makeup Designer

Writer

Writing and performance

Controtenore

Contralto

Basso-baritono

Alto

Continuo

Mimi

Narrazione

Voce bianca

An image of the fallen woman (this is how the title of the opera is translated) with a noble heart grew extremely popular in the nineteenth century. The theme of the splendor and miseries of courtesans, besides the novel of Honore de Balzac with the same title, was touched upon by Joseph Eugene Sue in his novel The Mysteries of Paris and by Vsevolod Krestovsky in his novel Slums of St Petersburg. The Characters of those novels have their literary sisters and heirs represented by Dostoevsky’s Sonya Marmeladova, Zhenka from Kuprin’s story The Pit, and Katyusha Maslova from Tolstoy’s Resurrection. In 1848 Verdi was a witness of a scandalous success of the autobiographical novel of Alexandre Dumas, fils, La Dame aux Camelias (The Lady of the Camellias). Dumas told his own story of passion for Marie Duplessis, a famous woman of demimonde (in the book she appears under the name of Marguerite Gauthier). She died of tuberculosis in young age. The book turned out to be so popular that the word camellia soon became a common noun to mark a kept-woman. The opening of Verdi’s opera that was based on the novel’s plot, did not avoid a scandal either. However the unfavorable reaction of the audience was provoked not so much by the story and music but by the performers. Otherwise would it be possible to explain why a bit later La traviata was triumphantly performed in the largest opera theatres, and today it is in the top 10 operas of the world opera repertoire?

The music of Verdi’s opera is saturated with the element of waltz that reigned in European salons of the nineteenth century. This atmosphere was precisely captured in Pushkin’s poetry, “Both dull and yet so flaky just like a twirl of youthful life, the noisy waltzing twirl so swiftly goes around, a coupe after couple is darting by.” A short and bright life of the courtesan Violetta flies by very quickly in that chase for pleasures, just like that twirl of waltz. The waltz for that time is more than a dance. Its emergence made a real revolution. It replaced the arrogant minuet of the previous historic period when dance partners cold only touch tips of their fingers. When the waltz came it immediately gained a reputation of ‘a devil’s dance’ and became a symbol of seduction. Its moves were considered inappropriate because the man was supposed to embrace the woman and hold her like that in front of other people. However it did not stop the waltz from spreading like epidemics and reaching the highest circles of the society.

La traviata is truly an opera-portrait of Violetta. The character of her lover Alfred and his father Giorgio Germont really reveal themselves only by being around her. The role of Violetta is really a part for a Prima Donna and they always stage this opera having in mind a leading soprano in the company. La traviata at the the Primorsky Stage was brought from the historic Mariinsky Theatre Stage. It was produced by the French team with their director Charles Roubaud invited by Valery Gergiev. It is a spectacular show with silver and golden scenery built according to historic designs, using miles of silk and velvet fabric to make luxurious costumes. It was staged in 2002 and the leading role was to be sung by the world famous opera star Anna Netrebko.

Nadezhda Koulygina

English

La traviata by Verdi, lun 08 mag 2017, Da (2016/2017), Diretto da Charles Roubaud, Anna Shishkina,, Direttore d'orchestra Anton Torbeev, Valery Gergiev, Pavel Smelkov, Palco, Vladivostok, Russia

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