Name: La Traviata
Start: 2016-08-19T00:00:00.000Z
End: 2017-05-08T00:00:00.000Z
Location: Primorsky Stage of the Mariinsky Theatre

Organization

Conductor

Anton Torbeev

Valery Gergiev

Stage director

Charles Roubaud

Anna Shishkina

Set designer

Bernard Arnould

Costume designer

Katia Duflot

Lighting designer

Igor Karmanov

Choreographer

Dmitry Korneyev

Chorus master

Larisa Shveikovskaya

Anna Pipia

Singer

Soprano

Alena Diyanova

Violetta Valery

Tenor

Alexei Kostyuk

Alfred Germont

Baritone

Dmitry Nelasov

George Germont

Irina Kolodyazhnaya

Flora Bervoix

Mezzo-soprano

Alina Mikhailik

Annina

Ilya Astafurov

Gaston

Gennady Akhmedov

The Baron Douphol

Bass

Sergei Pleshivtsev

The Marquis of Obigny

Yevgeny Plekhanov

The doctor Grenvil

Andrei Ivanov

Giuseppe

Vladimir Volkov

Commissioner

Pavel Smelkov

Elena Stikhina

Daria Cherniy

Elena Tretyakova

Oleg Ivanov

Vyacheslav Vasilyev

Vadim Soloviev

Vsevolod Marilov

Oxana Shilova

Primorsky Stage of the Mariinsky Theatre

italiera

La Traviata -  (La traviata)

Vladivostok

Russia

Big Hall

La traviata

Public

ingelesa

errusiera

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

Chorus Director

Composer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

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

Bass-baritone

Countertenor

Contralto

Alto

Child vocalist

Continuo

Silent

Spoken

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, og. 08 ira. 2016, Noiztik (2016/2017), Zuzendaria Charles Roubaud, Anna Shishkina,, Zuzendaria Anton Torbeev, Valery Gergiev, Pavel Smelkov, Primorsky Stage of the Mariinsky Theatre, Vladivostok, Russia

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