Musical delight

by Petar PLAMENOV


8 March (Thursday), 2012
Bulgaria Hall, 19:00
Grand Hall
Sofia Philharmonic Orchestra
Address: Sofia, 1 Aksakov Str.
Working time: mon-sun 09:00–18:30
Phone: 02 987 76 56 
 
Conductor: Liubka Biadzhoni, Germany
Cast: Suzanne Bernard [soprano], Anton Keremidchiev [baritone], Mihail Mihailov [tenor], Nona Krastnikova [mezzo-soprano], Mirjana Kalushkova [mezzo-soprano], Nikola Ivanov [baritone], Atanas Mladenov [baritone], August Metodiev [bass] Stefan Dimitrov [bass],

With National Philharmonic Choir Svetoslav Obretenov
Choir conductor: Luba Pesheva

Although it may now appear a period piece, La traviata was Verdi’s first opera based on a contemporary story. Based in the demi-monde of Paris of the 1850s, its star is the beautiful courtesan Violetta. She is a fallen woman, an outcast by the standards of the social morality of the time. While looking around for a new operatic subject in 1852, Verdi happened to be in Paris at the same time as the premiere of a play by Alexandre Dumas the Younger, La Dame aux Camelias. It was based on a novel of the same name probably already familiar to Verdi in which Dumas fils had enshrined memories of a beautiful, consumptive courtesan, Alphonsine Duplessis, as Marguerite Gauthier. It was a daring choice for an opera – ‘a subject for our times’, Verdi enthusiastically wrote, and pressed ahead with a libretto from Francesco Maria Piave, who had recently served him well in Rigoletto, and in Stiffelio – another unusual and contemporary theme, that of divorce.

It was interesting especially because of the society reasons. It was a story about the writer’s love to a famous Parisian courtesan Marie Duplessis. He was so encharmed with her that he forgot about his strict rules and squandered his money. His financial status forced him to leave her. But after her death (she died of tuberculosis in the age of 23), his feeling flared up again. He dedicated one of his best romances to her – at first as a novel and later as a theatrical performance.



La Traviata, the third and last opera of Verdi's popular trilogy also including Rigoletto and Il Trovatore. The opera was faithful to the events in the French play so that all criticism which was thrown at the story was also directed to the opera. An upper class prostitute, Violetta, who sacrificed herself for love and appeared as a victim of society, did not go well with mid 1800 morality which at best could accept only her redemption. At the Teatro La Fenice in Venice on 6 March 1853, La Traviata world premiere was a flop. Verdi proclaimed in his query: "Is the fault mine or of the singers? Time will tell".

Within a year and after some significant rather than extensive changes, Verdi presented it at San Benedetto, a less prestigious opera house in Venice . La Traviata was a resounding success, the main reason being the soprano Maria Spezia, a young, frail and realistic Violetta. The opera travelled all over the world triumphantly.

Verdi reacted against the libretto' sentimentality which glossed over Violetta's relationship with baron Douphol within an ambiguous circle of socialites. When an over sweet interpretation of Violetta was given at a performance in Rome , the composer wrote bluffly to a friend there, exclaiming: "A whore must always be a whore!"

La Traviata has perhaps the richest psychological inner being of all romantic opera. The music reflects Verdi's new direction towards a fine psychological drama. Delicate and complex characters move in a banquet hall, salon, country villa and bedroom. The figure of Violetta predominates with her genuine, delicate and selfless inner life within these contemporary settings and dramatic realism.




Synopsis

Act I

A party in Violetta's house, summer
Violetta throws a party and Alfredo raises a toast in praise of wine and pleasure. The guests dance but Violetta is too ill to join in. Alfredo declares his love to Violetta and offers to take her away and look after her, but she refuses, saying that all she knows is this life of fun-seeking. She has never been in love. The guests depart, and Violetta reflects on Alfredo’s declaration. She is confused by new-found feelings.


Act II

Scene 1: a country house near Paris, the following winter

Alfredo and Violetta are now living together in the country. Alfredo sets off to Paris, leaving Violetta alone. Alfredo’s father arrives and pleads with Violetta to leave his son; his beloved daughter’s prospects of marriage are hampered by Alfredo’s scandalous liaison with her. Violetta agrees to leave Alfredo and pens a note to him, asking a servant to deliver it when she is gone.
Alfredo returns and Violetta swears her love to him before running off. A servant then delivers her farewell note to Alfredo. He is heartbroken and his father tries to comfort him. Alfredo assumes that Violetta has gone back to her life as a courtesan and swears to avenge himself.

Scene 2: a salon in Violetta's friend Flora's house

Alfredo then arrives, shortly followed by Violetta on the arm of Baron Douphol. The baron challenges Alfredo to a game of cards. They play and the baron loses to Alfredo. The baron storms off in anger.Violetta implores Alfredo to go as she fears the baron may harm him. Against her breaking heart’s wishes, she tells Alfredo that she loves the baron, not him. In fury, Alfredo flings the money at Violetta, jeering that he is finally paying her for her services. Violetta faints. The baron returns and swears to avenge the insult.


Act III

Violetta's bedroom, carnival time
The carnival is heard offstage. Violetta is close to death. She reads a letter in which Alfredo begs forgiveness. Violetta fears it is too late to see him again. She prays for God’s forgiveness for her life of sin. Violetta’s maid rushes in to say that Alfredo is on his way to see her. He then hurries in and falls into Violetta’s arms, imploring her forgiveness.
Alfredo’s father also comes to beg Violetta’s forgiveness. The three are reconciled. Violetta has a final burst of relief from her pain, then collapses dead.

 

Прочети цялата новина

Свързани новини: