LA TRAVIATA. Giuseppe Verdi
28, 30 May; 3, 6 June, 2020
5 June, 2020
Violetta and the sacrifice of the bourgeois order
The dramatic love story of Violetta Valéry and Alfredo Germont -the names changed from Marguerite Gautier and Armand Duval to avoid paying royalties to Alexandre Dumas fils, author of “La Dame aux Camélias”- have helped give Verdi’s “La Traviata” its status as the opera par excellence, embedded in the popular consciousness; but regardless of the musical education of the public, it continues to enthrall audiences on its own merits. The story of a Parisian courtesan and a young man from the provinces, prepared to defy social conventions for their love, and how their passion is thwarted by an inevitable tragedy, quickly made this opera one of the most beloved by the public, and a century and a half after its debut at La Fenice, Venice, in 1853, audiences are still swept away by its powerfully romantic melodies and dramatic arias. Why? Can there be a better declaration of love than Violetta’s desperate cry of surrender “Amami, Alfredo” in “La Traviata”?
Beneath its impeccable and immutable tragic structure, the drama in three acts conceived by Verdi and his librettist Francesco Maria Piave conceals a portrait, albeit idealised and moralising, of the social customs of the hypocritical bourgeoisie of the mid-19th century, when wives were merely decorative and gentlemen looked for sex, excitement or pleasure among the “traviatas”: fallen women, demimondaines like Marie Duplessis, a real “traviata”, dead at 32 from tuberculosis, who inspired the novel by Dumas. Verdi’s version is somewhat more sanitised, but despite portraying the story of a purifying love which had to end in tragedy because of the heroine’s past, it is still one of his most outspoken commentaries on the morals of the era.
But we should not be deceived, as Marie-France Castarède warns: “Violetta has been sacrificed to the bourgeois order: she has found the greatness of a heroine, greater than Marguerite Gautier, thanks to the music which sings of feelings and disguises ideological conflicts.
”The greatness of Verdi is to have described the tragedy of this sacrifice with nobility. However, even though the opera had to be set two centuries in the past in order to soften its harsh and controversial realism, its first performance disappointed the public. Verdi made several revisions before the second debut in May 1854 in the Teatro de San Benedetto, which was a resounding success, partly because “La Traviata” is unexpectedly intimate, with a small cast and few choruses.
On the other hand, the orchestral arrangement is brilliant, and the struggles of the leading characters produce a trio of high tension and inner emotion when Germont’s father -one of Verdi’s finest baritone roles and a crucial figure in the plot, as he raises the theory of sacrifice- joins the couple.
In five performances, one of which is reserved for a young cast of promising singers, the Teatro de la Maestranza presents “La Traviata” in the staging designed for the Scottish Opera, Welsh National Opera, Gran Teatre del Liceu and Teatro Real by one of the most brilliant stage directors now active, David McVicar, with Pedro Halffter Caro conducting the ROSS. In the double cast, Nino Machaidze/Vanessa Goikoetxea, Dalibor Jenis/Carlos Arámbula and Arturo Chacón-Cruz/Matheus Pompeu.
En torno a La traviata
With Asociación Sevillana de Amigos de la Ópera (ASAO)
SALA DE PRENSA
27 May, 2020
Sala de prensa (Access via the theatre reception entrance)
Free of charge until complete capacity
28, 30 May; 3, 6 June, 2020
5 June, 2020
PRICE LIST A: Friday, Saturday
PRICE LIST B: Monday, Tuesday, Wednesday, Thursday, Sunday (except before public holidays)
PRICE LIST C: 5 June, 2020
PRICES: PRICE LIST A / PRICE LIST B / PRICE LIST C
Stalls (Patio) 140€ / 130€ / 70€
Balcony (1ª Balcón) 135€ / 125€ / 65€
Balcony (2ª Balcón) 124€ / 112€ / 60€
Terrace (1ª Terraza) 112€ / 100€ / 55€
Terrace (2ª Terraza) 100€ / 91€ / 50€
Slips (1ª Paraíso) 90€ / 86€ / 40€
Slips (2ª Paraíso) 80€ / 73€ / 30€
Slips (3ª Paraíso) 70€ / 59€ / 20€
BUY TICKETS ONLINE: 2 December, 2019. Possibility of printing tickets at home using the "ticket en casa" system.
BUY TICKETS AT BOX OFFICE: 2 December, 2019.
Telephone. (+34) 954 22 65 73, in the event tickets are still available after the first day of Box Office sales. Surcharge 1.50€.
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Paseo de Cristóbal Colón 22.
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Closed on Sundays and holidays when there is no performance.
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