Micaele Sparacino General Director and Conductor

The Last Bel Canto Opera, La Traviata

“The Lost One” and “The Wayward Woman” are translations often given the title of La Traviata in various English editions. However, I have often thought of the opera as The Last One — the last Italian Bel Canto opera, the end of the great era of deliriously florid song as devised by Rossini, Bellini and Donizetti.

The style of opera writing changed radically after La Traviata. With the emergence of Richard Wagner and the German school of singing and the more dramatic style of the Italian Verismo school, opera largely abandoned the vocal style and technique that had dominated the European stage for more than 150 years.

Giuseppe Verdi had admirably tried in all of his previous operas to achieve a maturity of composition within the framework of the Donizetti style. He achieved varying degrees of success with such works as I Masnadieri, I Due Foscari, I Lombardi, Giovanna D’Arco, Ernani. They bore the hallmarks of great Bel Canto operas — thrilling overtures, magnificent arias, soaring duets and ensembles, and finales with dramatic concertato sections. Wonderful works, yes, but not quite as perfect as Rossini’s Semiramide, Bellini’s Norma or Donizetti’s Lucrezia Borgia. Not until Verdi completed Il Trovatore and La Traviata, that is.

Verdi actually worked on Il Trovatore and La Traviata at the same time, and both premiered in the same year, 1853. La Traviata was a great disaster when it opened at La Fenice in Venice. Legend blamed it on the great girth of the prima donna, who could not convince the Venetian audience that Violetta was dying of consumption. Verdi laid the blame squarely on the poor performances of the principals. Thereafter, however, the the opera was an immediate and lasting success wherever it played, and it has remained a perennial favorite of the international repertoire.

In style of composition, La Traviata can be described only as the quintessential Bel Canto opera. From Prelude to Recitative, from Aria to Cabaletta, from Duet to Ensemble, and from Chorus to Concertato, it is the perfect “old school” opera.
Verdi never composed in this style again. Nor did any other major composer. He never looked back. All of his operas to come, from Aida through Falstaff reflect a new day of singing in opera.

So let us return, as Verdi surely must have, for one last visit to a world of soaring melodies, dazzling cadenzas, of romance and melodrama, of bravura and bravado.

Let’s look back on Bel Canto — one last time!

Synopsis

Act I
A salon in the home of Violetta Valéry

A cheerful party is taking place at the home of Violetta Valéry, a beautiful Parisian demimondaine. Viscount Gastone de Letorières arrives and presents his friend, Alfredo Germont. He tells Violetta that Alfredo has long been a secret admirer and had even called daily during her recent illness to inquire about her. Baron Douphol, another admirer of Violetta, is angered by the conversation and refuses to propose a toast when invited by the Viscount.

Alfredo accepts the invitation and sings an impassioned drinking song to beauty and love. Later, as the others depart for the ballroom to dance, Violetta is overcome by a fainting spell. Alfredo stays behind to assist her. He then confesses he has been in love with her for more than a year. Violetta does not reciprocate but offers friendship. She gives him a flower from her bosom and bids him return when it has withered. Alfredo, joyously accepting the suggestion, tells her goodnight.

After her guests have gone, Violetta ponders Alfredo’s proffered love. After some champagne she returns to her true character and declares she will remain forever uncommitted—free to pass from pleasure to pleasure.

Act II, Scene I
Violetta’s country house outside Paris.

Violetta is living with Alfredo in the country, having abandoned her life of ease and luxury in town. Annina, Violetta’s maid and confidante, enters and tells Alfredo she has been sent to take away all Violetta’s things, which must be sold to pay her debts. Alfredo realizes the sacrifices that Violetta has made to live with him; he leaves for Paris, determined not to be shamed by his mistress’ sacrifice.

Violetta enters. She receives an unexpected visitor, Giorgio Germont, Alfredo’s father. He declares that Alfredo is ruining himself to keep her as his mistress. When Germont comments on the luxury of the country retreat, Violetta shows him the papers that have been prepared for the sale of all her possessions. He asks her to give up Alfredo, explaining that by continuing the liaison, Alfredo is prejudicing the impending marriage of his younger sister. Giorgio Germont’s insistence convinces Violetta, who agrees to save Alfredo’s sister by leaving him forever. She is preparing a letter as Alfredo returns. His father has gone out into the garden.

Alfredo, not realizing his father has already arrived, explains to Violetta that the elder Germont has written him a severe letter, but he assures her that his father will approve of her as soon as he meets her. Violetta pretends that she must leave so as not to be present when father meets son, but a messenger returns with her letter of farewell. Alfredo is stricken with grief at the loss of Violetta and when his father tries to persuade him to return to his family, Alfredo refuses. Finding on a table an invitation that Flora Bervoix has sent Violetta, he resolves to go to Flora’s in hope of finding Violetta.

Act II, Scene II
The salon of Flora Bervoix

Alfredo arrives at Flora’s brilliantly lighted salon just as the guests are beginning to gamble. Then Violetta arrives, escorted by Baron Douphol. Alfredo is incredibly lucky at cards, explaining that he who is unlucky in love is lucky at cards. The Baron, incensed at Alfredo’s insolence, challenges him to play. Alfredo accepts and beats the Baron repeatedly at high stakes.

When all the others retire to dinner, Violetta remains behind to entreat Alfredo to leave lest the Baron challenge him to a duel. Alfredo answers that he will leave only if she accompanies him. Unwilling to reveal that she must break with him because of his father, Violetta declares that she is in love with the Baron.

Alfredo, in a frenzy of jealousy, calls all the guests into the room and announces that he had not known that she had made great financial sacrifices to live with him. In a rage, he throws a purse at her feet and calls upon all to witness that he has paid her in full. The elder Germont has entered just in time to witness Alfredo’s caddish bravado and joins the others in reviling him for his unchivalrous conduct. Alfredo, realizing the lengths to which his jealousy has carried him, is contrite, but realizes he is helpless to make amends.

The Baron assures Alfredo that he must answer for the insult on the field of honor.

Act III
Violetta’s bedroom

Violetta’s illness has brought her to the point of death. Her physician, Doctor Grenvil, examines her and tells Annina that Violetta has but a few hours to live. Violetta reads a letter from Giorgio Germont, in which she learns that Alfredo has gone abroad after wounding the Baron in a duel. He knows now of the great sacrifice Violetta has made and is returning to beg her forgiveness. Alfredo returns and the two lovers are reunited at last. But it is too late. Violetta tries to rise from her bed, but cannot. The elder Germont calls to ask her pardon. Violetta, comforted by the presence of the man she has so tragically loved, rises for a moment from her bed, then collapses in a faint. A moment later, she is dead.