Organization

Stage director

Stage director (+3)

Götz Friedrich

Set designer

Set designer (+1)

Frank Philipp Schlößmann

Costume designer

Klaus Bruns

Lighting designer

Ulrich Niepel

Chorusmaster

Chorusmaster (+2)

Thomas Richter

Deutsche Oper Berlin

Orchestra

Orchester der Deutschen Oper Berlin

Chorus

Choir of the Deutsche Oper Berlin

Mezzo-soprano (+2)

Sylvia Rena Ziegler

Annina

Mezzo-soprano (+3)

Arianna Manganello

Flora Bervoix

Baritone (+3)

Michael Bachtadze

Barone Douphol

Heiner Boßmeyer

Flora's Servant

Conductor

Conductor (+1)

Dominic Limburg

Tenor

Pene Pati

Alfredo Germont

Baritone (+5)

Thomas Lehman

Giorgio Germont

Tenor (+6)

Ya-Chung Huang

Gastone de Letorières

Baritone (+2)

Dean Murphy

Marchese d'Obigny

Kyle Miller

Commissioner

Tenor (+3)

Kangyoon Shine Lee

Giuseppe

Ivan Repušić

Tenor (+4)

Andrew Dickinson

Baritone (+4)

Samuel Dale Johnson

Bass (+4)

Gerard Farreras

Dottore Grenvil

Baritone (+1)

Youngkwang Oh

Tenor (+2)

Chance Jonas-O'Toole

Bass-baritone (+3)

Christian Simmons

Soprano

Nina Minasyan

Violetta Valery

Mané Galoyan

Attilio Glaser

Baritone (+6)

Markus Brück

Gihoon Kim

Bass-baritone (+4)

Padraic Rowan

Bass (+1)

Tobias Kehrer

Soprano (+1)

Elbenita Kajtazi

Spoken (+1)

Alexander Hoffmann

Karis Tucker

At a party to which Violetta Valery, luxuriously supported by Baron Douphol, has invited after apparent recovery from a serious illness, she meets Alfredo Germont and a love for which there is no place in her world. She turns her back on her old life and moves to the country with Alfredo. When Alfredo's father demands that she give up the son so as not to jeopardize her younger sister's marriage through her bad reputation, she gives in desperately and writes Alfredo a farewell letter. A scandal erupts at a ball held by her friend Flora: Violetta wants Alfredo to believe that she loves Baron Douphol. In his jealousy, Alfredo throws the money he won at the game at her feet as "reward for her acts of love". A month later, when carnival is raging in Paris, Violetta is dying. Alfredo comes back - his father told him the truth about Violetta's reason for breaking up. Violetta forgives, releases Alfredo and dies.

The subject matter for Verdi's only opera, which is set in the bourgeois world of Paris around 1847, was the widely acclaimed novel La dame aux camélias by Alexandre Dumas the Younger, which tells the fate of the noble courtesan who died of tuberculosis on February 3, 1847 at the age of 23 Marie Duplessis made the subject of a critical study of the Parisian half-world. While the main characters in Dumas' play act in a dense network of relationships, Verdi and his librettist Francesco Maria Piave renounce everything that is not directly related to the conflict between Violetta, Alfredo and father Giorgio Germont. The drama, which focuses entirely on inner movements, concentrates on the three stages that Violetta Valery goes through: love, renunciation and death.

Götz Friedrich gave the tragedy the atmosphere of a requiem by telling the story of Violetta's suffering as a flashback. Already during the prelude Violetta can be seen lying on her white deathbed on the sparse stage, which resembles a monumental tomb. At the beginning of her party, she gets up from the bed, which is quickly converted into a lounger, puts on a ball gown – and the fun-loving Parisian half-world dances in through the doors that suddenly open. The story is told entirely without sentimentality, without any hint of trivial directness. The inner picture of the drama is consequently unrolled and the mood of doom and death in the work is brought to bear.

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