Organization

Stage director

Nic Muni

Set designer

Conductor

Wei-En Hsu

Singer

Soprano

Lei Xu

Violetta Valery

Tenor

Ji-Min Park

Alfred Germont

Baritone

ZhengZhong Zhou

George Germont

Etta Fung

Flora Bervoix

Mezzo-soprano

Annina

Bass

Stefan Gordon

The doctor Grenvil

More Than Musical

La Traviata -  (La traviata)

Hong Kong

China

Public

La traviata

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Chefdirigent Musiktheater

Choir

Choreographer

Chorus Director

Chorus master

Composer

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Sound designer

Stage Manager

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Contralto

Countertenor

Bass-baritone

Alto

Child vocalist

Continuo

Silent

Spoken

Have you ever felt intimidated by opera? If so, you are not alone, and More Than Musical may just have the remedy. In keeping with More Than Muscial’s goal of making opera more accessible, we have reduced the runtime from the usual 2.5 hours to about 100 minutes, with no intermission.

Verdi’s original was set in “modern” times, 1853, the year of the premiere, as Verdi wanted the audience to relate to the characters without the filter of “a time longpast”. We, too, have set out production in the present.

La Traviata is a story about social and religious hypocrisy. In 19th century France, wealthy men were permitted to have mistresses, but insisted on virginal behaviour from women in their family circles. Violetta is the embodiment of this dilemma: a courtesan who trades physical intimacy for financial gain.

Then, however, she falls in love and gives up her lucrative and licentious lifestyle. But can a person be forgiven for their mistakes, however heinous? And can a woman be forgiven? This is the critical question of the piece. Verdi’s answer, or rather that of society’s as he saw it, is a resounding “no”.

Allow yourself to be offended by the behaviour of some of the characters, to sympathise with Violetta’s plight, to struggle with Germont’s request, to pity Alfredo’s rage.

English

La traviata by Verdi, lr. 16 abe. 2017, Noiztik (2017/2017), Zuzendaria Nic Muni,, Zuzendaria Wei-En Hsu

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