Ópera

LA TRAVIATA

Giuseppe Verdi
© Jane Hobson
© Jane Hobson
© Jane Hobson
PRÓXIMAS FECHAS HORAS
28/05/2020 - Jueves 20.00h comprar
30/05/2020 - Sábado 20.00h comprar
03/06/2020 - Miércoles 20.00h comprar
05/06/2020 - Viernes 20.00h comprar
06/06/2020 - Sábado 20.00h comprar

LA TRAVIATA. Giuseppe Verdi

28, 30 May; 3, 6 June, 2020
8pm

YOUNG CAST
5 June, 2020
8pm

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
7pm

Sala de prensa (Access via the theatre reception entrance)
Free of charge until complete capacity

Conductor PEDRO HALFFTER CARO
MANUEL BUSTO (5 June)
Director DAVID McVICAR
Revival director MARIE LAMBERT- LE BIHAN
Escenografía y vestuario TANYA McCALLIN
Lighting designer JENNIFER TIPTON
Choreographer ANDREW GEORGE
Revival choreographer COLM SEERY
Ficha Artística
Violetta Valery NINO MACHAIDZE
VANESSA GOIKOETXEA (5 June)
Flora Bervoix ANNA TOBELLA
Annina MEGAN BARRERA
Alfredo Germont ARTURO CHACÓN-CRUZ
MATHEUS POMPEU (5 June)
Giorgio Germont DALIBOR JENIS
CARLOS ARÁMBULA (5 June)
Gastone MANUEL DE DIEGO
Baron Douphol CARLOS DAZA
Marquis D'Obigny DAVID LAGARES
Doctor Grenvil CRISTIAN DÍAZ
Giuseppe JUAN JOSÉ ALMONTE
Flora's servant JAVIER BAREA
The messenger VICENTE BARRAGÁN
Información adicional
Production Scottish Opera, Welsh National Opera, Gran Teatre del Liceu, Teatro Real
Real Orquesta Sinfónica de Sevilla Artistic and musical director, John Axelrod
Coro de A.A. del Teatro de la Maestranza Director, Íñigo Sampil

28, 30 May; 3, 6 June, 2020
8pm


YOUNG CAST
5 June, 2020
8pm


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€.

Internet: you may print your tickets through the “ticket en casa” option. You will receive a confirmation email containing the valid ticket(s). TICKETS MUST BE PRINTED OR DOWNLOADED ON YOUR MOBILE DEVICE IN ORDER TO ACCESS THE HALL.

In case of tickets purchased by phone or online, we strongly recommend you to access the hall in advance in order to avoid any possible inconveniences. Otherwise the hall cannot guarantee the access to the show. 

Box Office:
Paseo de Cristóbal Colón 22.
10am-2pm/5pm-8pm. Monday to Saturday.
Closed on Sundays and holidays when there is no performance.
The Box Office accepts payments in cash and by credit or debit card.

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