From 24 October till 28 October 2020

Giuseppe Verdi
LA TRAVIATA

Conductor | Stefano Ranzani

Stage Director | Lorenzo Amato

Set Design | Ezio Frigerio

Costume Design| Franca Squarciapino

Interpreters

Violetta Valéry | Albina Shagimuratova / Nino Machaidze / Maria Grazia Schiavo

Flora Bervoix | Mariangela Marini / Cinzia Chiarini

Annina | Michela Petrino

Alfredo Germont | Francesco Demuro / Ivan Magrì

Giorgio Germont | Amartuvshin Enkhbat / Giovanni Meoni

Gastone | Lorenzo Izzo / Enrico Zara

BaronDouphol | Nicola Ebau

Marquis d'Obigny | Nicolò Ceriani

Doctor Grenvil | Francesco Musinu

Orchestra, Chorus and Ballet of Teatro di San Carlo

Production of Teatro di San Carlo

SERIE CREMISI (RED)

Saturday 24 October 2020, h 20.00

Sunday 25 October 2020, h 17.00

Tuesday 27 October 2020, h 20.00

Wednesday 28 October 2020, h 18.00

Production out of Subscription

Sung in Italian with Italian and English surtitles

Durata: 2 hours and 50 minutes with intermission

Still today in Paris, flowers are placed on Marguerite Gautier's grave, the protagonist, who really existed, of Alexandre Dumas son's La dame aux camélias from which Verdi, together with his librettist F. M. Piave, derived the libretto of la Traviata. It is no coincidence that the work, based on a rather taboo subject for that time, saw the light in Venice where censorship had already been tolerant with Verdi accepting the boldness of Ernani and Rigoletto. For various reasons (including the inadequacy of the singers) the work was a resounding failure at the premiere, but then became one of the most represented Italian operas of all time. On a musical level, La Traviata is in many ways the last ‘bel canto' opera by Verdi and marks the passage from the model of the early nineteenth century, based on an idealized vocal dimension, to the new more ‘realistic' path that Verdi himself would follow in the second half of the century. Third work of the so-called "popular trilogy" (together with Trovatore and Rigoletto), Traviata is perhaps the densest score of psychological interiorities of all the romantic opera theatre. The violent passions of the previous works are transformed into subtle and often refined notations of feelings, of pain, of tenderness, of love, of resignation.