Name: La Traviata
Start: 2014-07-01T00:00:00.000Z
End: 2014-07-11T00:00:00.000Z
Location: Theater an der Wien

Admin

Organization

Soprano

Marlis Petersen

Violetta Valery

Tenor

Arturo Chacón-Cruz

Alfred Germont

Baritone

Roberto Frontali

George Germont

Andrew Owens

Gaston

Ben Connor

The Baron Douphol

Bass

Igor Bakan

The doctor Grenvil

Conductor

Sian Edwards

Stage director

Peter Konwitschny

Set designer

Johannes Leiacker

Costume designer

Lighting designer

Joachim Klein

Chorus master

Erwin Ortner

Mezzo-soprano

Gaia Petrone

Annina

Iwona Sakowicz

Flora Bervoix

Dramaturge

Bernd Krispin

Editing of the surtitles

MusikTheater an der Wien

italiera

La Traviata -  (La traviata)

Vienna

Austria

Theater an der Wien

La traviata

alemana

Approved

Instrumentalist

Pianist

Violinist

Cellist

Violist

Flutist

Clarinetist

Guitarist

Organist

Percussionist

hornist

Oboist

Bassoonist

Trumpeter

Contrabassist

Trombonist

Harper

Saxophonist

Harpsichordist

Accordionist

Bassist

Tuba Player

Recorder Player

Lutenist

Tenor Violinist

Timpani

Mandoline Player

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Violino Piccolo Player

Viola da gamba

Musette de cour Player

Viola Pomposa Player

Archlutenist

Vibraphonist

Cornettist

Viola d’amore Player

Theorbist

Composer

Librettist

Choreographer

Dancer

Actor

Video designer

Translator

Sound designer

Repetiteur

Makeup artist

Executive producer

Hairstylist

Other

Stage Manager

Choir

Orchestra

Poet

Vocal coach

Teacher

Photographer

Broadcasting

Illustrator

Writer

Writing and performance

Chorus Director

Wig & Makeup Designer

Orchestra Operations

Extra

Singer

Countertenor

Bass-baritone

Contralto

Spoken

Child vocalist

Silent

Alto

Continuo

Never before the world premiere of La traviata in 1853 had such a topical, scandalous subject hit the opera stage: the courtesan Marie Duplessis had only died of consumption in Paris in 1847 - her lover Alexandre Dumas the Younger made her the heroine of his novel The Lady of the Camellia in 1848 , In 1852 he turned her fate into a drama. At the time, Giuseppe Verdi was looking for material for a new opera for the Teatro La Fenice in Venice. When he read The Lady of the Camellias in October 1852 , he rejected all previous plans: That was the story in which he was able to convey his ideas of human dignity and love in a moving way.

The courtesan Violetta Valéry suffers from consumption. The Demimonde Society follows their waning. Then Alfredo, a young man from a good family, falls in love with her. He wants to save her and persuades her to turn away from her previous way of life. The two move to the country. Alfredo's bourgeois father disgusts his son's relationship with a “fallen woman”. In Alfredo's absence, he speaks to Violetta, referring to his daughter, who no one wants to marry if her brother lives with a courtesan. Does Violetta want to spoil the innocent young woman's life? Violetta leaves Alfredo and resumes her old job. Offended and jealous, he publicly humiliates Violetta. When Violetta is dying, Alfredo returns to her. In the meantime his father has confessed to him why Violetta left. But it's too late, Violetta dies in Alfredo's arms.

Verdi originally wanted to name the opera Amore e morte (love and death) . From the beginning his music points to Violetta's death, Verdi gives this figure an almost mystical grandeur. However, the censors did not agree with a work that elevated a courtesan to a saint. The title had to be changed to La traviata (The Lost Way) and the action moved to the year 1700 in order to at least weaken the decoupling of the bourgeois double standard. That couldn't stop the success of Verdi's masterpiece: to this day, Verdi's La traviata continues to challenge new interpretations.

English

La traviata by Verdi, Noiztik (2014/2014), Zuzendaria Peter Konwitschny,, Zuzendaria Sian Edwards, Theater an der Wien, Vienna, Austria

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