La Traviata is Verdi’s opera, written by the great composer on the libretto by Francesco Maria Piave based on The Ladies with Camellias by A. Dumas Jr. She was first introduced to the viewer on March 6, 1853, in Venice in La Fenice. At first, the opera La Traviata was a complete fiasco. But after some time it was revised, and today it is considered one of the best works of this musical direction. La Traviata, the content of which was very unusual for that time, appeared on stage in Europe almost simultaneously with the production of Ladies with Camellias on the stage.
Failure
First of all, the choice of the main character became unusual for society. Many were surprised by the libretto in the opera La Traviata. Its content is a story about a courtesan dying from an incurable disease. According to critics, it was "disgusting, terrible and immoral." But not for the composer. As in Rigoletto or Troubadour, Verdi's opera La Traviata puts in the center the character rejected by society. There were many problems with the choice of the main performer: the main character, who was dying of consumption, was too magnificent. Viewers perceived this as a joke. Another difficulty was the costumes. La Traviata is Verdi’s opera, which was performed in contemporary clothes for 1853, so it was unusual for everyone to have singers dressed as spectators.
Success came
However, in a later performance, when everything was changed, she won great success in Italy. The audience, despite the unusual for themselves libretto of the opera La Traviata, whose summary was learned from the programs, slowly fell in love with her, and from the very first day after she went on stage again already updated. She made a splash in both England and America, although it was literally destroyed by critics. But time has shown that experts are often mistaken.
Today the opera La Traviata, the contents of which at first was so shocking, has been one of the most popular for a century and a half. Today it is included in the repertoires of all the famous musical theaters of the world. Even Dumas, after listening to the opera La Traviata, the contents of which were familiar to him, as no one knew, was astounded. He believed that Verdi had immortalized his “Lady with the Camellias,” about which in half a century no one, according to the writer, would have recalled.
The novelty of the opera La Traviata , libretto, content
The prolonged work on Troubadour did not prevent Giuseppe Verdi from working simultaneously on his other work, La Traviata. After the musical image of a large popular movement, the composer turned to a purely family psychological psychological drama. “La Traviata”, the content of which libretto strikes with its vitality and acuteness of the question raised about the hypocrisy of bourgeois society and its morality, was a discovery for Verdi. The psychological depth is noted, according to many modern experts, the music of the opera. In contrast to the "catchy strokes" characteristic of the score of the same "Troubadour", Verdi here sought to more subtly convey the shades of mental state and motivation of the heroes. The performers faced new tasks related to a direct appeal to the modern theme of that time, the simplicity and routine of the plot.
History of creation
The prototype of the heroine of the opera La Traviata, the summary of which closely resembles Dumas with the Camellias, was Marie Duplessis, a Parisian courtesan. Her beauty and extraordinary mind were captivated by many prominent people. Among the fans was the younger Dumas, a beginner and little-known writer. Dumas owed their breakup and the long journey that followed him to his father, the author of The Three Musketeers. Returning a few years later to Paris, the writer no longer found Marie Duplessis, who died of tuberculosis, alive. Soon the “Lady with Camellias” appeared, in Margarita Gauthier - the main character - everyone recognized Duplessis, while in Armand Duval, whom Margarita loved purely and selflessly, many were inclined to see the author. In 1848, Dumas, having processed the novel into a play, with great difficulty achieved its production. Verdi was also present at the premiere, who became interested and set about creating the opera. He ordered the libretto F. Piave - one of the best at that time. The composer himself actively participated in the development, trying to achieve a concise action.
Libretto of the opera La Traviata - summary
This story, of course, is about love, but also about illness. The combination itself is not a very attractive combination, but when the viewer begins to realize that the first topic in the famous foreplay is nothing but the motives of the heroine’s illness, and the second tells about her love, it becomes clear how wonderful the composer was able to speak out about things, which, it would seem, are unattractive. In the libretto "La Traviata" F. Piave conveyed modern history, while Verdi was able to create the perfect image of the main character. He, according to critics, is so “divine,” as if intended to embody all the charm of the prima donnas of his age, such as Patti, Malibran, who became the greatest performers of the role of Violetta.
Content of the first action
The house of the famous Parisian courtesan Violetta is noisy fun. Among the guests are Alfred Germont, who is infinitely in love with her. His feelings cause ridicule and misunderstanding among those present. Suddenly Violetta becomes ill. Alfred, who is nearby, is trying to convince her to take the path of the “righteous”, to change her life by believing in his feelings. At first, the courtesan responds with jokes, but soon makes an appointment. Left alone, Violetta warmly recalls the tender words of Alfred. In her heart, gradually, for the first time in her frivolous life, love rises in response to genuine feelings for her.
Verdi's opera La Traviata - summary of the second act
Lovers leave the capital and retire to a country house, where in rural silence they indulge in their happiness. However, a serene life is violated by the maid Annin, who speaks out to Alfred that his beloved is secretly selling off his horses and carriage in order to pay for their present life. A hot young man rushes to the capital in order to get the thousand louisurs necessary for renting a house.
A day later, Alfred's father arrives at Violetta, who is alone, demanding that she break with his son. At first, he demands sharply, at this time a very expressive duet sounds, then he begins to realize that the woman standing in front of him is noble and honest, therefore, begs her to fulfill her request. He says that Alfred’s sister will not be able to marry “successfully” while this “shameful” relationship of his brother lasts. Violetta is touched by the words of a desperate father, and she promises him, hiding from Alfred the reason for the breakup, to abandon his relationship with him. She writes a letter to her lover and accepts the invitation of her old friend Flora to go to the reception with her. Suddenly, Alfred appears, full of confidence that his father will immediately fall in love with Violet as soon as he sees her. The woman’s heart is literally breaking. She, asking to love her always, secretly leaves the house and goes to Paris. Alfred, who has read the letter, is trying to rush after her, but he is stopped by his father who has suddenly appeared.
Elder Germont at this moment performs the famous aria “Di provenza il mare”, reminding his son of a house in Provence and begging him to return. The inconsolable Alfred, in terrible jealousy, decides to take revenge on his "treacherous" mistress and also goes to the reception. Everyone is surprised to see him without Violetta, but he pretends that she is of little interest to him. At this time, accompanied by Baron Dufalle, his former lover appears. Baron, a former client of Violetta, with Alfred can not stand each other.
The climax of the second action
The game of cards begins. The stakes are pretty big. Alfred wins. At this time, a small alarming topic is being executed, Violetta prays that there will be no scandal. Fortunately, when Alfred wins all his money from his elderly rival, an invitation to dinner is given. Violetta fears that the case could end in a duel, so she begs Alfred to leave. Remembering the promise given to old Germont, the woman is lying that she loves the baron. Then Alfred in front of everyone throws Violetta in the face all the money won by the baron, calling them payment for former love. His father, shocked, condemns his son for such a cruel act. Alfred himself is embarrassed by his trick. The Baron challenges him to a duel. The second part ends with a large ensemble number.
Third action
A beautiful and sad introduction begins, telling about Violetta’s disease. When the curtain rises, it goes into the original tense topic. Now the formerly most brilliant courtesan, Violetta lives in a wretched dwelling on the outskirts of Paris. She, terminally ill, lies in bed. Her devoted Annina takes care of her. They invite a doctor who tells the maid that she has only a few hours left to live. Violetta sends her away, and she herself begins to read the letter of the elder Germont, which came a few weeks ago. It says that Alfred wounded the baron in a duel, after which he left France. But now he knows the reason for their break and goes to her to ask for forgiveness. But Violetta realizes that it is already too late for this. At this time, she performs the sublime "Addio del passato" aria. After that, voices are heard outside the windows. The breathless maid reports that Alfred has arrived. The meeting of the lovers ends with a touching duet “Parigi, o cara”. In “Paris we will leave” they begin to dream of leaving Paris, so that in the fresh air, closer to nature, Violetta could regain her health, after which they will happily heal again.
Ending
A woman gives her lover a medallion with her portrait, so that he gives it to his future wife, so that she knows that there is an “angel” above who will pray for them. For a moment, Violetta feels that life is returning to her again. At this time, the same love music that was heard in the first act is heard in the upper register of the orchestra. But relief is only the euphoria that precedes death, and with a cry of “E spenta!” Meaning “Oh joy!”, Violetta dies in the arms of her lover.
Postscriptum
Tourists come to the cemetery of Montmartre at the grave of Marie Duplessis, with whom the image of the main character “La Traviata” was created. She died in 1846 in the twenty-second year of life. Among her lovers was the composer Ferenc Liszt. And the opera La Traviata, a brief summary of which can be found in special literature, has become a post-life present from Alexander Dumas, Jr., embodied in the music of his friend Verdi.