Mariinsky Theatre tickets 17 April 2025 - La traviata (semi-staged performance) | GoComGo.com

La traviata (semi-staged performance)

Mariinsky Theatre, Concert Hall, Saint Petersburg, Russia
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Important Info
Type: Opera
City: Saint Petersburg, Russia
Starts at: 19:00
Acts: 3
Intervals: 1
Duration: 2h 40min
Sung in: Italian
Titles in: English,Russian

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Cast
Performers
Orchestra: Mariinsky Orchestra
Chorus: Mariinsky Chorus
Creators
Composer: Giuseppe Verdi
Choreographer: Christopher Murrah
Music Director: Valery Gergiev
Author: Alexandre Dumas (fils)
Directed: Claudia Solti
Librettist: Francesco Maria Piave
Costume designer: Isabella Bywater
Sets: Isabella Bywater
Lighting Designer: Jennifer Schriever
Musical Preparation: Larisa Gergieva
Video designer: Roberto Vitalini
Overview

"Ah, della traviata sorridi al desio!" “Ah, smile on a lost soul!” - sings the unfortunate Violetta, a Parisian courtesan, anticipating an imminent death.

This is the only place in the opera La Traviata where the word that Giuseppe Verdi put on the title page of his most famous work is heard. Violetta's request is addressed to God; world, secular society will not smile at the “stumbled”. The title of La Traviata is already a polemical challenge, and for a person in the middle of the 19th century, when the opera was written, it is an unprecedented scandal: a lady of the demi-monde, in other words, an expensive cocotte, on the opera proscenium, in a recognizable modern setting! Dumas, the son whose "Lady of the Camellias" inspired Verdi to create his masterpiece, admitted that the composer immortalized the story of the famous bohemian beauty to a much greater extent than he himself. Both the writer and the composer knew what they were writing about: in the image of Marguerite Gautier, Dumas' lover, Marie Duplessis, was guessed, in the story of Violetta Valery and Alfred Germont, the family conflict of Verdi himself, who chose an opera singer with sick lungs, was reflected in his life. When Giuseppe and Giuseppina watched a play based on Dumas' novel together, both were shocked to tears. Today, audiences around the world are crying over La Traviata.

Self-sacrifice is one of the central themes of romanticism, and the plots of 19th century operas are inconceivable without selfless women. They leave their family and homeland, jump from rocks, put themselves under a knife, etc., but their exploits are always performed for the sake of a loved one. In the gallery of sacrificial heroines, Violetta Valerie stands apart, as she gives everything she has for the benefit of a complete stranger to her: a higher deed is hard to imagine. La Traviata - the lost, stumbled Violetta - unwittingly blocked the path to the happiness of a young woman and now must free this path. The last step of the “traviata” on the “crooked path” of her life is the step of a real martyr, and the “fallen one” takes off to an unattainable moral height. Looking at La Traviata from this point of view, one can see in it not only a story of doomed love, beautiful to the point of sentimentality, not only social criticism that denounces double morality and social prejudices, but also a drama of the most difficult internal struggle, from where the heroine, despite death, comes out the winner.

Christina Batyushina

History
Premiere of this production: 06 March 1853, Teatro La Fenice, Venice

La traviata is an opera in three acts by Giuseppe Verdi set to an Italian libretto by Francesco Maria Piave. It is based on La Dame aux camélias (1852), a play adapted from the novel by Alexandre Dumas fils. The opera was originally titled Violetta, after the main character. It was first performed on 6 March 1853 at the La Fenice opera house in Venice.

Synopsis

Act I
Paris. A party is underway at the home of Violetta Valéry, a well-known demimondaine. Violetta´s admirers are celebrating her return to health. Alfredo Germont is among the guests. He asks Gastone to introduce him as he is in love with her. At the request of the other guests, Alfredo sings a toast in her honour. As the others go to dance, Violetta is taken ill. She asks to be left alone. Alfredo, concerned that the woman he loves is ill, begs her to change her way of life and believe in his love. His love gives rise to Violetta´s hopes for happiness.

Act II
Scene I
A country house near Paris. Alfredo and Violetta live here in contentment. Annina, Violetta´s maid, confesses to Alfredo that her mistress is secretly selling her belongings. Tormented by his conscience, Alfredo leaves for Paris to deal with these financial affairs.
When she returns, Violetta cannot find Alfredo. Giuseppe the gardener gives her a letter from Flora. It is an invitation to a ball. Violetta lays it to one side in indifference – she will not attend.
Suddenly, Alfredo´s father Giorgio Germont appears. He accuses Violetta of ruining his son and soiling the family name. Violetta is in despair: she is mortally ill and has not long to live; her love for Alfredo is her only joy and comfort. Giorgio Germont is surprised at the sincerity of her emotions, but still insists that Violetta leaves his son. Violetta agrees and decides to sacrifice her own happiness.
Alfredo returns from Paris. He is surprised by Violetta´s perturbed manner. For the final time, she tells him of her undying love, then she leaves.
Alfredo is overjoyed. "Ah, this dear one lives only for my love!" he says of Violetta.
He is brought a letter; it is a letter of farewell from Violetta, in which she says she is returning to Baron Douphol. Alfredo is shocked.
Giorgio Germont enters. He asks his son to return home to Provence. Alfredo does not listen to his father and he is unable to comprehend Violetta´s actions. Suddenly he notices Flora´s invitation. He now knows where to find Violetta. He must leave for Paris immediately…
Scene II
The ball at Flora´s. Alfredo is gambling. Violetta enters with Baron Douphol. She is in torment from having abandoned the man she loves.
Alfredo attempts to raise a quarrel with the Baron.
The guests are called to dinner; Alfredo and Violetta are left alone. Alfredo insists that she returns to him, but she is unable to break her promise. Seized with envy, Alfredo calls the guests then throws his money before Violetta – his payment for her love.

Act III
Ravaged by sickness and anguish and abandoned by her friends, Violetta is slowly dying. She knows that the end is close. Violetta reads once again a letter from Giorgio Germont. He tells her that Alfredo is due to return and that he now knows everything – he will come to ask her forgiveness.
Excitedly, Annina informs Violetta that Alfredo has come. The lovers are together once more and there would appear to be no bounds to their happiness. They dream of leaving Paris forever and starting life anew.
But Violetta has no longer the strength to live. The hour of her death has come.

Set in and around Paris in about 1850.

Act I

Violetta Valéry, a Parisian courtesan, greets the guests at her salon. Among them are Flora Bervoix, the Marchese D’Obigny, Baron Douphol and Gastone, who introduces Violetta to a new admirer of hers, Alfredo Germont. The young Germont, who has been admiring her from afar, joins her in a drinking song. An orchestra strikes up in an adjacent room, inviting the guests to dance. As the guests make their way to the ballroom, Violetta, who is suffering from consumption, feels faint; she therefore sends the guests on ahead and retires to her boudoir to recover. Alfredo enters and, realising that they are alone, admits his love for her. She replies that love means nothing to her. She
is, however, touched by the young man’s sincerity and promises to meet him the following day.
When the guests have departed, she asks herself whether Alfredo is the man she could love. Despite
the strains of Alfredo’s love song drifting in from outside, she decides she prefers her freedom.

Act II

scene 1
A few months later: Alfredo and Violetta have set up house together in the country, outside Paris. Alfredo says how happy they are, but when Violetta’s maid Annina lets on that Violetta has been selling her belongings to pay for the house, he hastens into town to raise the money himself. Violetta comes in search of him and discovers an invitation from her friend Flora to a soirée that very night. Violetta has no intention of returning to her former life, but she is forced to reconsider
on encountering Alfredo’s father. He is very taken with Violetta and her civilised manners but orders her to renounce Alfredo: his son’s scandalous liaison with Violetta is threatening his daughter’s forthcoming marriage. Violetta considers his demand unreasonable, but before long Germont succeeds in persuading her. Alone and desolate, Violetta sends a reply to Flora accepting her invitation and sits down to write a farewell letter to Alfredo. His return takes her by surprise, and she can barely restrain herself as she passionately reminds him how much she loves him before
rushing out. As the maid brings him Violetta’s farewell letter, Germont returns to console his son and reminds him of life in their family home in Provence. Alfredo spots Flora’s invitation and suspects that Violetta has left him for another man. In a rage, he decides to confront her at the soirée.

scene 2
At the soirée, Flora hears from the Marchese that Violetta and Alfredo have parted. Flora asks the guests to make way for a visiting troupe of performing gypsies. They are followed by matadors and a song about Piquillo and his sweetheart. Alfredo rushes in and delivers some bitter comments about love and gambling. Violetta appears on the arm of Baron Douphol, who challenges Alfredo to a game of cards and loses a small fortune to him. As the guests go in to supper, Violetta asks to have a word with Alfredo in private. She is afraid the Baron will be enraged by his loss and urges Alfredo to leave. Alfredo misunderstands her and orders her to admit she loves the Baron. Disappointed by Alfredo’s reaction, Violetta lies and confesses that yes, she does. Alfredo calls the other guests to gather round in order to denounce his former beloved in public and throws the money he has won at her feet. Germont, arriving at that very moment, expresses his disapproval of his son’s behaviour. The guests likewise rebuke Alfredo and Douphol challenges him to a duel.

Act III

Violetta’s bedroom, six months later. Dr Grenvil tells Annina that her mistress has not long to live –
the consumption has taken its toll. Alone, Violetta rereads a letter from Germont saying that the Baron was only slightly wounded in his duel with Alfredo, that Alfredo has heard the truth and is
coming to beg her pardon. But Violetta realises it is too late. It is carnival time in Paris and, the sounds of the revellers having passed, Annina rushes in to announce Alfredo. The lovers ecstatically plan to leave Paris. Germont enters with the doctor just as Violetta rises from her bed with the last of her strength. Feeling a sudden rush of life, she sways and falls dead at her lover’s feet.

Venue Info

Mariinsky Theatre - Saint Petersburg
Location   1 Theatre Square

The Mariinsky Theatre is a historic theatre of opera and ballet in Saint Petersburg, Russia. Opened in 1860, it became the preeminent music theatre of late 19th-century Russia, where many of the stage masterpieces of Tchaikovsky, Mussorgsky, and Rimsky-Korsakov received their premieres. Through most of the Soviet era, it was known as the Kirov Theatre. Today, the Mariinsky Theatre is home to the Mariinsky Ballet, Mariinsky Opera and Mariinsky Orchestra. Since Yuri Temirkanov's retirement in 1988, the conductor Valery Gergiev has served as the theatre's general director.

The theatre is named after Empress Maria Alexandrovna, wife of Tsar Alexander II. There is a bust of the Empress in the main entrance foyer. The theatre's name has changed throughout its history, reflecting the political climate of the time.

The theatre building is commonly called the Mariinsky Theatre. The companies that operate within it have for brand recognition purposes retained the Kirov name, acquired during the Soviet era to commemorate the assassinated Leningrad Communist Party leader Sergey Kirov (1886–1934).

The Imperial drama, opera and ballet troupe in Saint Petersburg was established in 1783, at the behest of Catherine the Great, although an Italian ballet troupe had performed at the Russian court since the early 18th century. Originally, the ballet and opera performances were given in the wooden Karl Knipper Theatre on Tsaritsa Meadow, near the present-day Tripartite Bridge (also known as the Little Theatre or the Maly Theatre). The Hermitage Theatre, next door to the Winter Palace, was used to host performances for an elite audience of aristocratic guests invited by the Empress.

A permanent theatre building for the new company of opera and ballet artists was designed by Antonio Rinaldi and opened in 1783. Known as the Imperial Bolshoi Kamenny Theatre the structure was situated on Carousel Square, which was renamed Theatre Square in honour of the building. Both names – "Kamenny" (Russian word for "stone") and "Bolshoi" (Russian word for "big") – were coined to distinguish it from the wooden Little Theatre. In 1836, the Bolshoi Kamenny Theatre was renovated to a design by Albert Cavos (son of Catterino Cavos, an opera composer), and served as the principal theatre of the Imperial Ballet and opera.

On 29 January 1849, the Equestrian circus (Конный цирк) opened on Theatre Square. This was also the work of the architect Cavos. The building was designed to double as a theatre. It was a wooden structure in the then-fashionable neo-Byzantine style. Ten years later, when this circus burnt down, Albert Cavos rebuilt it as an opera and ballet house with the largest stage in the world. With a seating capacity of 1,625 and a U-shaped Italian-style auditorium, the theatre opened on 2 October 1860, with a performance of A Life for the Tsar. The new theatre was named Mariinsky after its imperial patroness, Empress Maria Alexandrovna.

Under Yuri Temirkanov, Principal Conductor from 1976 to 1988, the Opera Company continued to stage innovative productions of both modern and classic Russian operas. Although functioning separately from the Theatre’s Ballet Company, since 1988 both companies have been under the artistic leadership of Valery Gergiev as Artistic Director of the entire Theatre.

The Opera Company has entered a new era of artistic excellence and creativity. Since 1993, Gergiev’s impact on opera there has been enormous. Firstly, he reorganized the company’s operations and established links with many of the world's great opera houses, including the Royal Opera House, Covent Garden, the Metropolitan Opera, the Opéra Bastille, La Scala, La Fenice, the Israeli Opera, the Washington National Opera and the San Francisco Opera. Today, the Opera Company regularly tours to most of these cities.

Gergiev has also been innovative as far as Russian opera is concerned: in 1989, there was an all-Mussorgsky festival featuring the composer’s entire operatic output. Similarly, many of Prokofiev’s operas were presented from the late 1990s. Operas by non-Russian composers began to be performed in their original languages, which helped the Opera Company to incorporate world trends. The annual international "Stars of the White Nights Festival" in Saint Petersburg, started by Gergiev in 1993, has also put the Mariinsky on the world’s cultural map. That year, as a salute to the imperial origins of the Mariinsky, Verdi's La forza del destino, which received its premiere in Saint Petersburg in 1862, was produced with its original sets, costumes and scenery. Since then, it has become a characteristic of the "White Nights Festival" to present the premieres from the company’s upcoming season during this magical period, when the hours of darkness practically disappear as the summer solstice approaches.

Presently, the Company lists on its roster 22 sopranos (of whom Anna Netrebko may be the best known); 13 mezzo-sopranos (with Olga Borodina familiar to US and European audiences); 23 tenors; eight baritones; and 14 basses. With Gergiev in charge overall, there is a Head of Stage Administration, a Stage Director, Stage Managers and Assistants, along with 14 accompanists.

Important Info
Type: Opera
City: Saint Petersburg, Russia
Starts at: 19:00
Acts: 3
Intervals: 1
Duration: 2h 40min
Sung in: Italian
Titles in: English,Russian
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