Organization

Stage director

Carlo Antonio De Lucia

Conductor

Alexander Anisimov

Lighting designer

Roman Krikunov

Costume designer

Natalia Zemalindinova

Set designer

Elena Solovyova

Singer

Soprano

Irina Yantseva

Violetta Valery

Tenor

Anatoly Nevdakh

Alfred Germont

Baritone

Vladimir Borovikov

George Germont

Natalya Dikusarova

Flora Bervoix

David Pogosyan

Gaston

Stepan Volkov

The Baron Douphol

Bass

Alexander Bobykin

The doctor Grenvil

Vladimir Medvedev

The Marquis of Obigny

Mezzo-soprano

Elena Marchenko

Annina

Ivan Pilyukshin

Commissioner

Flora's Servant

Chorus master

Valerya Navrotskaya

Olga Safronova

Крыжский Дмитрий

Renat Latypov

Andrey Antonov

Natalia Bondareva

Anastasiya Lapa

Ilya Govzich

Vasiliy Svyatkin

Anastasya Vecherkina

Samara Academic Theatre of Opera and Ballet

italų

La Traviata -  (La traviata)

Samara

Russia

Chamber stage

Main stage

La traviata Verdi

Public

La traviata

rusų

Approved

The plot of the sad story of Marguerite Gauthier belongs to the pen of Alexandre Dumas, son, who created the novel (1848), and later the drama The Lady of the Camellias. These works brought the author unprecedented fame. The prototype of the heroine was the famous Parisian courtesan, Marie Duplessis, who attracted men with her sensual beauty and extraordinary mind. Among her admirers was Dumas himself, then an aspiring orator. The intervention of Dumas, the father, the famous author of The Three Musketeers, caused a break in love relationships. Returning from a long journey, the young Dumas learned about the death of his beloved. When the novel The Lady of the Camellias was published shortly after, everyone recognized the real characters in its characters - Marie Duplessis and the author himself.

Giuseppe Verdi, who was present at the Paris premiere of The Lady of the Camellias, was fascinated by the bold work and set about creating an opera. The co-author of the composer was one of the best Italian librettists Francesco Maria Piave. The writer created a vivid picture of modern customs, and the composer embodied in the sounds the perfect image of the main character. With great skill, he managed to express the cult of freedom inherent in the beauty, her tender and passionate love, and, finally, self-sacrifice.

Having made the main character of the opera a woman rejected by society (“traviata” - in Italian “fallen”), the composer showed the nobility and spiritual beauty of Violetta. Warm sympathy for the fate of the courtesan, condemnation of the hypocrisy of public morals, the depiction of events of modern life on the opera stage - all this violated the traditions of the musical theater and became the main reason for the failure of the opera in 1853.
Despite the unsuccessful premiere, Verdi believed in the brilliant future of his opera. And indeed, staged in Venice a year later, La Traviata was a resounding success. After some time, this opera became one of the most famous in the musical theater repertoire and went around the stages of the best theaters in the world.

Having become acquainted with the opera, Dumas said: “In fifty years, no one would remember my Lady of the Camellias, but Verdi immortalized her.”

Over the past half century, only three productions of the opera La Traviata have changed in our theater, including the current one. And the two previous performances were created by outstanding masters of directing, and not from the capital. The performance of 1961 was staged by the Tatar singer and teacher Niyaz Dautov, soloist and chief director of the Tatar Opera and Ballet Theatre. And the production of La Traviata in 1988 was handled by Zemfira Tsalikova, the first female musical theater director in North Ossetia, who later brought up several generations of theatrical figures.

English

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