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Giureppe Verdi LA TRAVIATA
La traviata is an opera in three acts by Giuseppe Verdi set to an Italian libretto by Francesco Maria Piave. It takes as its basis the novel La dame aux Camélias by Alexandre Dumas, fils, published in 1848. It was first performed at the Teatro la Fenice in Venice, on March 6, 1853. The title "La traviata" means literally The Woman Who Strayed, or perhaps more figuratively, The Fallen One. The original audience appears to have been puzzled by the fact that the opera had a contemporary setting. However, the opera has become immensely popular and a staple of the standard operatic repertoire. It appears on Opera America’s list of the 20 most-performed operas in North America[1], where it appears as Number 3, the third most performed opera, behind only Madama Butterfly and La bohème. Roles: Violetta Valéry, a courtesan Flora Bervoix, Violetta’s friend Gastone, Alfredo’s friend Barone Douphol Marchese D’Obigny Alfredo Germont Giorgio Germont, his father Annina, Violetta’s maid Dottor Grenvil, Violetta’s Doctor Giuseppe, Violetta’s servant Orchestra Opera di Venezia Synopsis A summary of the plot of La traviata is detailed below. Place: Paris and vicinity. Time: about 1700. (Many modern producers of La traviata set the opera in the 19th century.) Act I The salon in Violetta’s house Violetta Valery, a famed courtesan, throws a lavish party at her Paris salon to celebrate her recovery from an illness. Gastone, a count, has brought with him his friend, the young nobleman Alfredo Germont, who has long adored Violetta from afar. While walking to the salon, Gastone tells Violetta that Alfredo loves her so much and, while she was ill, he came by her house every day. Alfredo joins them, admitting the truth of Gastone’s remarks. Violetta replies to Alfredo, "I’m indebted to you". The Baron waits not far from them to escort Violetta to the salon, but she walks to him saying, "You, Baron, never cared as much". The Baron replies, "I have just known you for a year". Violetta glares at Alfredo and says, "He just met me a minute ago!". At the salon, the Baron is asked to give a toast, but he refuses and the crowd turns to Alfredo (Alfredo, Violetta, chorus: Libiamo ne’ lieti calici – "Drinking song"). From the next room, the orchestra begins to play and the guests move there to dance. Violetta feels dizzy and asks the guests to go ahead and to leave her to rest for a while to recover. The Baron leaves her alone. The guests dance in the next room, while Violetta looks at her face in her mirror. She looks pale. Alfredo enters and he expresses his concern for her fragile health and later declares his love for her (Alfredo, Violetta: Un di, felice, eterea – "The day I met you"). At first Violetta rejects him because his love means nothing to her. However, there is something about Alfredo that touches her heart. Alfredo is about to leave when she gives him a flower, telling him to return it when it has wilted. She promises to meet him the next day. After the guests leave, Violetta wonders if Alfredo could actually be the one in her life (Violetta : Ah, fors’è lui – "Perhaps he is the one"). But she concludes that she needs freedom to live her life (Violetta : Sempre libera – "Ever free"). From off stage, Alfredo’s voice is heard demanding that she accept his love. Act II Scene 1 Violetta ‘s country house outside Paris Three months later, Alfredo and Violetta are living together in a peaceful country house outside Paris. Violetta has fallen in love with Alfredo and she has completely abandoned her former life. Alfredo sings of their happy life together (Alfredo: Di miei bollenti spiriti - "Wild my dream of ecstasy"). Annina, the maid arrives from Paris, and, when questioned by Alfredo, she says that she went there to sell the horses, carriages and everything owned by Violetta to support their country lifestyle. Alfredo is shocked to learn this and leaves for Paris immediately to settle matters himself. Violetta returns home and receives an invitation from her friend, Floria, inviting her to a party in Paris. Alfredo’s father, Germont is announced and demands that, for the sake of his family,she break off her relationship with his son. His father is impressed by Violetta’s nobility, which is not what he expected from a courtesan. According to Germont, Violetta’s relationship with Alfredo has threatened his daughter’s engagement (Germont: Pura siccome un angelo – "I have a daughter as pure as an angel") because of Violetta’s reputation as a courtesan . Saying that she cannot break off the relationship because she loves Alfredo so much, Germont pleads with her for the sake of his family. With growing remorse in her heart, she finally agrees (Violetta, Germont : Dite alla giovine – "Say to this child of thine"). She says goodbye to Germont saying that they may not see each other again. Germont kisses her on her forehead, feeling very grateful for her kindness and sacrifice, before leaving her weeping alone. Violetta gives a note to Annina to send to Floria as acceptance of the party invitation. While writing a farewell letter to Alfredo, he enters. She can barely control her sadness and tears; she tells him repeatedly of her unconditional love before rushing out and handing the farewell letter to her servant to give to Alfredo. The servant gives the farewell letter to Alfredo. As soon as he finishes reading it, Germont comes in and attempts to comfort his son, reminding him of his family in Provence (Germont : Di Provenza il mar - "In Provence"). Alfredo suspects the Baron is behind his separation with Violetta and the party invitation, which he finds on the desk, strengthens his suspicions. He determines to confront Violetta at the party. Germont tries to stop Alfredo, but he rushes out. Scene 2 Party at Floria’s house At the party, the Marquis tells Flora that Violetta and Alfredo have separated. She calls for the entertainers to perform for the guests (Chorus: Noi siamo zingarelli - "We’re gypsies gay and youthful"); (Chorus: Di Madride noi siam mattadori – "We are bullfighters from Madrid"). Gastone and his friends join the matadors and sing (Gastone, chorus, dancers: E Piquillo, un bel gagliardo - "Twas Piquillo, so young and so daring"). Violetta arrives with Baron Douphol. They see Alfredo at the gambling table, and upon seeing them, Alfredo creates a big scene about his winning. The Baron feels annoyed. He goes to the gambling table and challenges him. Alfredo wins some large sums of money from the Baron until Floria announces that the supper is ready. Alfredo leaves with handfuls of money. Everyone goes in to supper, but Violetta has asked Alfredo to see her. Fear that the Baron’s anger will lead him to challenge Alfredo to a duel, she gently asks Alfredo to leave. Alfredo misunderstands her apprehension and demands that she admit that she loves the Baron. In grief, she does so. Her confession makes Alfredo furious and he calls the guests to witness what he has to say. Alfredo humiliates and denounces Violetta in front of the guests, and then throws his winnings at her for her "services" while they lived together (Questa donna conoscete?). She falls, fainting onto the floor. The guests reprimand Alfredo: "Leave at once, we despise you. You have insulted a noble lady". In search of his son, Germont enters the hall. Knowing the real significance of the scene, he denounces his son’s behavior (Germont, Alfredo, Violetta, chorus: Di sprezzo degno, se stesso rendo - "Worthy of contempt is the man"). Flora and the ladies attempt to persuade Violetta to leave the dining room, but, before doing so, Violetta turns to Alfredo and sings, Alfredo, Alfredo, di questo core non puoi comprendere tutto l’amore - "Alfredo, Alfredo, little canst thou fathom the love within my heart for thee". Act III In Violetta’s bedroom Dr. Grenvil tells Annina that Violetta will not live long as her tuberculosis has worsened. Alone in her room, Violetta reads a letter sent by Alfredo’s father saying the Baron was only wounded in his duel with Alfredo. The letter also states that he has informed Alfredo of the sacrifice Violetta made for him and his sister; and that he is sending his son to see her as quickly as possible to ask for her forgiveness. But Violetta senses it is too late (Violetta: Addio del passato – "So closes my sad story"). Annina rushes in the room to tell Violetta of the arrival of Alfredo. The lovers are reunited. Alfredo suggests that they leave Paris (Alfredo, Violetta: Parigi, o cara , noi lasceremo – "Dearest, we’ll leave Paris" ). But it is too late; she knows her time is up (Alfredo, Violetta: Gran Dio! morir si giovane - "O, God! to die so young"). The old Germont enters (Ah, Violetta) with the doctor. He regrets what he has done. Shortly after Violetta dies in Alfredo’s arms.
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GIUSEPPE VERDI
La Traviata
libretto di Francesco Maria Piave
Febbraio/February 2010:
Lun./Mon. 15
Gio./Thu.25
Marzo/March 2010:giovedì 4
Gio./Thu.18
Gio./Thu.25
Aprile/April 2010:
Gio./Thu.1
Gio./Thu.8
Gio./Thu.15
Gio./Thu.22
Maggio/May 2010:
Sab./Sat. 1
Gio./Thu.6
Gio./Thu.13
Gio./Thu.20
Gio./Thu.27
Giugno/June 2010:
Dom./Sun. 6
Dom./Sun. 13
Dom./Sun. 20
Dom./Sun. 27
Settembre/September 2010:
Gio./Thu.09
Gio./Thu.16
Gio./Thu.23
Gio./Thu.30
Ottobre/October 2010:
Gio./Thu.07
Gio./Thu.21
Gio./Thu.28
Novembre/Novembre 2010:
Gio./Thu.04
Gio./Thu.11
Gio./Thu.18
Gio./Thu.25
Dicembre/December 2010:
Dom./Sun. 5
Dom./Sun. 12
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Giacomo Puccini Tosca
Tosca is an opera in three acts by Giacomo Puccini to an Italian libretto by Luigi Illica and Giuseppe Giacosa, based on Victorien Sardou’s drama, La Tosca. The work premiered at the Teatro Costanzi in Rome on January 14, 1900. The original play by Victorien Sardou was produced in Paris in 1887 and seen by Puccini in Milan, in 1887, with Sarah Bernhardt as Tosca. Puccini immediately asked his editor Giulio Ricordi to buy Sardou’s rights, but these were finally bought only in 1893 to be given to Alberto Franchetti, another composer. Illica wrote his libretto, and in October 1894, Franchetti, Ricordi, Illica and Giuseppe Verdi met Sardou to present him the libretto. Verdi was particularly fascinated by this tragedy, but he refused to compose music for it unless Sardou could come up with another ending. After a few months Franchetti finally admitted he was not able to compose music for the work, so Giulio Ricordi asked Puccini to do it. Puccini was still offended and only Verdi’s intercession convinced him to accept. He started working on it in 1896, after the completion of La Bohème; Ricordi set Giuseppe Giacosa to work with Luigi Illica for the libretto, but Giacosa did not perform up to his own standards, and had several personal disputes with Sardou. Puccini too had disputes with Illica, Giacosa and Ricordi together. They had proposed a triumphal "Latin hymn" for Act III, but Puccini finally convinced them to reduce it to only the eighteen measures of Trionfal... di nuova speme. In October 1899, after three years of difficult cooperation, the opera was ready. Since it is a story about Rome, it was decided that the prima would be in the eternal city, at Teatro Costanzi. Floria Tosca, a celebrated singer Mario Cavaradossi, a painter Baron Scarpia, chief of police Cesare Angelotti, former Consul of the Roman Republic A sacristan Spoletta, a police agent Sciarrone, a gendarme Act I The church of Sant’Andrea della Valle Angelotti, an escaped political offender, seeks refuge in the church of Sant’Andrea della Valle where his family has a chapel. His sister, the Marchesa Attavanti, while praying for his release, has unwittingly served as a model to the painter, Mario Cavaradossi for his portrait of the Magdalen. A few minutes before a sacristan enters, Angelotti conceals himself in his family’s chapel. The sacristan assists the painter, washing his brushes. When Cavaradossi stops his work for a moment, he takes out a medallion from his pocket: this medallion contains a miniature portrait of Tosca, his lover. He makes a comparison between Tosca and the model he was portraying. The sacristan makes a controcanto, then leaves Cavaradossi alone to paint. When the sacristan leaves, Angelotti comes out of his chapel. Cavaradossi is his friend and political ally. Angelotti begins to tell of his escape from Castel Sant’Angelo but the arrival of Tosca interrupts their conversation. Cavaradossi gives Angelotti some food and helps him return to hide in the chapel. Floria Tosca is a singer, and she goes to the church to invite Mario Cavaradossi to meet her after her performance in the evening. However, Tosca is unreasonably jealous, and her suspicions have been aroused, having heard Cavaradossi’s speaking to someone upon her arrival. She imagines an intrigue with a woman, and her fears are apparently confirmed by the portrait of Mary Magdalene. She says that the blue-eyed model looks very familiar. Finally, Tosca realizes Mario has used Marchesa Attavanti as the model, but Mario assuages her suspicions. Tosca has brown eyes, whereas the woman in the portrait has blue. Tosca, her jealousy abated, leaves, but not before playfully insisting he make the Magdalene’s eyes dark, like hers. Angelotti reappears, and his escape is planned: Angelotti will don woman’s attire and flee to Cavaradossi’s villa; if necessary, Angelotti will hide in the well. Cavaradossi swears, even if it costs him his life, he will save Angelotti from the wicked Scarpia. A cannon shot from the fortress warns that his escape has been discovered and compels him to flee; the painter exits the church with him. The sacristan returns surrounded by a laughing crowd of choir boys and acolytes. They falsely believe that Napoleon has been defeated and are there to sing a thankful Te Deum, when Scarpia, chief of police, arrives with Spoletta and some of his men in search of the escaped prisoner. In the Attavantis’ chapel Spoletta finds the fan of the Marchesa and the painter’s basket emptied of food and wine. Scarpia threateningly asks the sacristan about this, but the latter maintains that Cavaradossi did not have the key to the chapel and had not expressed any interest in the food. Scarpia shrewdly concludes that Cavaradossi is connected with Angelotti’s escape. Tosca returns to explain to Cavaradossi that she must perform in the celebration of cantata and will not be able to meet him. Finding that Cavaradossi has left, she begins to feel suspicious. Meanwhile the church fills up and a Cardinal prepares for the Te Deum. Scarpia arouses Tosca’s jealousy by producing Attavanti’s fan, and she departs in anger. Ordering his agent to follow her, he passionately avows his love for the singer, then kneels devoutly in prayer. Act II Scarpia’s room at Palazzo Farnese (now the embassy of France) Scarpia is dining alone while celebrations are heard outside. He sends a servant to give a note to Tosca to invite her to join him when she finishes with her recital. Cynically he sings of pleasure presuming she will surrender to his power. Spoletta, his agent, enters with Cavaradossi in custody but without Angelotti, who has eluded him. Scarpia closely questions the painter, but Cavaradossi reveals nothing. Tosca arrives and the painter whispers to her not to say anything about Angelotti. Scarpia sends Cavaradossi off to be tortured, then turns his attention to Tosca; Scarpia describes to her in detail her lover’s anguish under torture. She can hear his groans, but is powerless to help him. At last, utterly prostrated, she divulges Angelotti’s hiding-place. The painter is brought out, and Scarpia indicates he knows where Angelotti is hiding. In his pain and humiliation, Cavaradossi denounces Tosca for her betrayal of the secret. Sciarrone enters to announce that earlier reports were mistaken, Bonaparte has defeated the royalist forces at the Battle of Marengo. Cavaradossi, exulting, is dragged away to prison. Tosca tries to follow him, but Scarpia holds her back. She asks him what the price is to free Mario. He avows his passion for her and lasciviously demands her body, her virtue, and herself, as the price to save Mario’s freedom. Tosca attempts to flee but is restrained by Scarpia as he attempts to rape her. During the struggle drums are heard — Scarpia indicates that they are the drums beating Cavaradossi to the scaffold. Tosca finally collapses and asks the Lord the reason for all this cruelty against her. Spoletta enters to announce that Angelotti committed suicide just as Scarpia’s agents discovered him in the well at Cavaradossi’s villa. Feeling as if she has no alternative, Tosca finally agrees to yield. Scarpia then orders Spoletta to organize for a mock execution of Cavaradossi, and Tosca demands a safe-conduct for herself and the painter to leave the country. While she is waiting for Scarpia to write it, she notices a knife on the table, and makes the decision to kill Scarpia rather than allow him to rape her. As he advances to embrace her, she stabs him. Having piously composed the body for burial, she departs to the sound of drums in the distance. Act III Top floor of Castel Sant’ Angelo where Cavaradossi is due to be shot Church bells announce the beginning of the day while a shepherd sings a stornello in romanesco, the Roman dialect. Cavaradossi, in prison, awaits his execution. For the price of a ring, Cavaradossi convinces a jailer to deliver a note to Tosca, then starts writing a farewell letter. With the last line, he bursts into tears. Tosca enters with Spoletta and a sergeant, bringing the safe-conduct and explains to him how she killed Scarpia in order to save them both. She then explains the mock execution which she believes to be arranged for him, and with triumphant and high emotion, they begin to dream of their future together. The soldiers fire; Mario falls. Tosca playfully compliments Mario on his marvellous acting. When the executioners leave, Tosca runs to Mario and tells him to get up. When he does not respond, Tosca realizes the truth: Scarpia had never intended to spare Cavaradossi, but had given Spoletta orders to execute him. Cavaradossi lies dead. As Tosca comes to this realization, Spoletta, who has discovered Scarpia’s death, enters with soldiers, denouncing her as a murderer. He comes forward to take Tosca prisoner, but she pushes him away. She then jumps from the ramparts of the castle and falls to her death. As she falls, the orchestra restates briefly but forte the tragic clarinet theme which has introduced Cavaradossi’s earlier aria.
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Giacomo Puccini Tosca libretto di Giuseppe Giacosa e Luigi Illica Febbraio/February 2010: Dom./Sun. 21 Dom./Sun. 28 Marzo/March 2010: Dom./Sun. 7 Dom./Sun. 14 Dom./Sun. 21 Dom./Sun. 28 Aprile/April 2010: Dom./Sun. 4 Dom./Sun. 11 Dom./Sun. 18 Maggio/May 2010: Dom./Sun. 9 Dom./Sun. 16 Dom./Sun. 23 Dom./Sun. 30 Settembre/September 2010: Dom./Sun. 12 Dom./Sun. 19 Dom./Sun. 26 Ottobre/October 2010: Dom./Sun. 03 Dom./Sun. 10 Dom./Sun. 17 Dom./Sun. 31 Novembre/Novembre 2010: Dom./Sun. 07 Dom./Sun. 14 Dom./Sun. 21 Dom./Sun. 28 BIGLIETTI / TICKETS Scuola Grande S. Giovanni Evangelista: Every day 10.00 – 18.00 - Opera day: 10.00 - 20.30 Chiesa S. Giacometto: Every day 10.00 – 18.00 ENSEMBLE ANTONIO VIVALDI/ OPERA HOUSE: TEL: +39 041 42 66 559 Fax: +39 041 562 50 55 www.operahouse.it - info@operahouse.it Ingresso/Admission: settore/sector A: 35,00 Riduzione/Reduction: settore/sector A: 30,00 Ingresso/Admission: settore/sector B: 30,00 Riduzione/Reduction: settore/sector B: 25,00 inizio concerto/opera h. 20.30 opera/concert start La Scuola è perfettamente riscaldata - Perfectly heated
Il Barbiere di Siviglia Gioachino Rossini
Melodramma buffo in due atti Musica di Gioachino Rossini Libretto di Cesare Sterbini tratto da una commedia di Beaumarchais An opera based on the play had previously been composed by Giovanni Paisiello, and another was composed in 1796 by Nicholas Isouard. Though the work of Paisiello triumphed for a time, Rossini’s later version alone has stood the test of time and continues to be a mainstay of operatic repertoire. Rossini’s opera follows the first of the plays from the Figaro trilogy, by French playwright Pierre Augustin Caron de Beaumarchais, while Mozart’s opera Le nozze di Figaro composed 30 years earlier in 1786 is based on the second part of the Beaumarchais’ trilogy. The original Beaumarchais version was first performed in 1775, in Paris at the Comédie Française at the Tuileries Palace. Rossini is well known for his fast work at composition, and true to his style, all the music for Il Barbiere di Siviglia was completed in under three weeks; though the famous overture was actually borrowed from a prior Rossini opera, Aureliano in Palmira. Barbiere’s first performance on February 20, 1816 was a disastrous failure: the audience hissed and jeered throughout, and several on-stage accidents occurred. One point of interest, however, is that the hissing audience is due largely in part to one of Rossini’s rivals. The audience members were his supporters and played on "mob mentality" when provoking the rest of the audience to dislike the opera. The second performance, however, met with quite a different fate, becoming a roaring success. It is curious to note that the original French play of Le Barbier de Seville endured a similar story, hated at first only to become a hit within a week. Il conte d’Almaviva Bartolo - dottore in medicina Rosina - ricca pupilla in casa di Bartolo Figaro - barbiere Basilio - maestro di musica di Rosina Fiorello - servitore d’Almaviva Ambrogio - servitore di Bartolo Berta - cameriera di Bartolo Act I Seville, 1800s. At night, Count Almaviva brings a band of musicians to serenade Rosina, ward of Dr. Bartolo, who keeps the girl confined in his house. When Rosina fails to answer his song, the count pays the players, and they leave. At the sound of Figaro´s voice, Almaviva steps away as the barber bounds in, boasting of his busy life as the neighborhood factotum. Figaro, though currently in Bartolo´s employ, encounters Almaviva and promises to help him win Rosina - for a suitable reward. No sooner has Bartolo left the house to arrange his own marriage with Rosina than Almaviva launches into a second serenade, calling himself "Lindoro," a poor creature who can offer only love. Figaro suggests Almaviva disguise himself as a drunken soldier billeted to Bartolo´s house. Alone in the house, Rosina muses on the voice that has touched her heart and resolves to outwit Bartolo. Figaro joins her, but they leave on hearing footsteps. Bartolo enters with the music master, Don Basilio, who tells him Almaviva is a rival for Rosina´s hand and advises slandering the nobleman´s reputation. Bartolo agrees, but Figaro overhears them. Warning Rosina that Bartolo plans to marry her himself the very next day, the barber promises to deliver a note she has written to "Lindoro." Rosina, alone with Bartolo, undergoes an interrogation, then listens to his boast that he is far too clever to be tricked. Berta, the housekeeper, answers violent knocking at the door, returning with Almaviva disguised as a drunken soldier in search of lodging. While arguing with Bartolo, Almaviva manages to slip a love letter to Rosina. But when Bartolo demands to see the letter, the girl substitutes a laundry list. Figaro dashes in to warn that their hubbub has attracted a crowd. Police arrive to silence the disturbance. As an officer is about to arrest him, Almaviva whispers his identity and is released. Rosina, Berta, Bartolo and Basilio are stupefied by everything that is happening. Act I I Bartolo receives a young music teacher, "Don Alonso" (again Almaviva in disguise), who claims to be a substitute for the ailing Basilio. Rosina enters, recognizes her suitor and begins her singing lesson as Bartolo dozes in his chair. Figaro arrives to shave the doctor and manages to steal the key to the balcony window. Basilio now comes in, looking the picture of health; bribed by Almaviva, he feigns illness and departs. Figaro shaves Bartolo while Almaviva and Rosina plan their elopement that night. They are overheard by the doctor, who drives Figaro and Almaviva from the house and Rosina to her room, then sends again for Basilio. Berta, unnerved by all the confusion, complains she is going mad. Bartolo dispatches Basilio for a notary, then tricks Rosina into believing "Lindoro" is really a flunky of Almaviva. After a thunderstorm, Almaviva arrives with Figaro and climbs through a balcony window to abduct Rosina. At first the girl rebuffs "Lindoro," but when he explains that he and Almaviva are one and the same, she falls into his arms. Figaro urges haste, but before they can leave, their ladder is taken away. Basilio enters with the notary. Though summoned to wed Rosina and Bartolo, the official marries her instead to Almaviva, who bribes Basilio. Rushing in too late, Bartolo finds the lovers already wed. When Almaviva allows him to keep Rosina´s dowry, the old man accepts the situation.
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Gioachino Rossini Il Barbiere Di Siviglia tratto da una commedia di Beaumarchais libretto di Cesare Sterbini Febbraio/February 2010: Sab./Sat. 13 Aprile/April 2010: Mar./Tue 13 Mar./Tue 20 Maggio/May 2010: Mar./Tue 4 Mar./Tue 11 Mar./Tue 18 Mar./Tue 25 Ottobre/October 2010: Mar./Tue 5 Mar./Tue 12 Mar./Tue 19 Mar./Tue 26 Dicembre/December 2010: Lun./Mon. 27 BIGLIETTI / TICKETS Scuola Grande S. Giovanni Evangelista: Every day 10.00 – 18.00 - Opera day: 10.00 - 20.30 Chiesa S. Giacometto: Every day 10.00 – 18.00 ENSEMBLE ANTONIO VIVALDI/ OPERA HOUSE: TEL: +39 041 42 66 559 Fax: +39 041 562 50 55 www.operahouse.it - info@operahouse.it Ingresso/Admission: settore/sector A: 35,00 Riduzione/Reduction: settore/sector A: 30,00 Ingresso/Admission: settore/sector B: 30,00 Riduzione/Reduction: settore/sector B: 25,00 inizio concerto/opera h. 20.30 opera/concert start La Scuola è perfettamente riscaldata - Perfectly heated
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