LA TRAVIATA in Detroit

DETROIT OPERA HOUSE Presents

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La Traviata

(The Fallen Woman)

Opera in three acts


Music: Giuseppe Verdi

Libretto:  Francesco Maria Piave

Based on the play: La dame aux Camélias by Alexander Dumas

Premiere: Venice, 1853
Running time: About 2.5 hrs

Sung in Italian with English translations projected above the stage

Performance Schedule

Sat Nov 16, 2013 730p

Wed Nov 20, 2013 730p

Fri Nov 22, 2013 730p

Sat Nov 23, 2013 730p

Sun Nov 24, 2013 230p

Eighteenth century Paris. Frail Violetta, afflicted with consumption but consumed by love, abandons her life as a courtesan and begins a new one with young Alfredo. Her racy reputation follows her, however, and threatens to ruin the reputation of the nobleman’s family.  Will their new love blossom or wilt? La Traviata is the most-performed opera in the world.

 

   

Starring

nicoleCabell200.jpg   NICOLE CABELL, Violetta
It’s a voice that wraps itself around you. … long, sinuous phrasing, warm tone and a sophistication that touches everything she sings.

-The Times

     
 corinneWinters200.jpg    

CORINNE WINTERS, Violetta
Corinne Winters delivered a performance of white-hot intensity and consummate control.

-BBC Music Magazine

 

     
 leonardoCaimi200.jpg    LEONARDO CAIMI, Alfredo
As for Caimi, you can hardly ask for more … power, accents both lyrical and intense, and strong technique allow him to make the most beautiful sounds from one extreme to the other.

-forumopera.com

     
zachBorichevsky200.jpg    ZACH BORICHEVSKY, Alfredo
“Borichevsky is the complete package – possessing a magnificent voice, strong acting ability, enormous stage presence, remarkable versatility, youth, and star caliber good looks that come in about a 6 foot 5 frame.”

-Historic Annapolis Patch

 

 

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NICOLE CABELL
Soprano
Role: Violetta
Dates: November 16, 20, 23

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CORINNE WINTERS
Soprano
Role: Violetta
Dates: November 22, 24

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LEONARDO CAIMI
Tenor
Role: Alfredo
Dates: November 16, 20, 23

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ZACH BORICHEVSKY
Tenor
Role: Alfredo
Dates: November 22, 24
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STEPHEN POWELL
Baritone
Role: Germont
Dates: All
ashleyMariaBahriKashat200.jpgASHLEY MARIA BAHRI KASHAT
Soprano
Barbara Gibson Young Artist Apprentice
Role: Flora
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JONATHAN CHRISTOPHER
Baritone
Barbara Gibson Young Artist 
Role: Baron Douphol
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MARK E. WATSON
Bass-Baritone
Role: Doctor Grenvil
Dates: All
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DANIELLE WRIGHT
Mezzo
Barbara Gibson Young Artist Apprentice
Role: Annina
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EVAN ROSS
Bass-Baritone
Role: Marchese D’Obigny
Dates: All

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JONATHAN RIESEBN

Bass-Baritone
Role: Gaston
Dates: All 
 
leonardoVordoni200.jpgLEONARDO VORDONI
Conductor
marioCorradi200b.jpg MARIO CORRADI
Director
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Act I

Violetta Valéry knows that she will die soon, exhausted by her restless life as a courtesan. At a party she is introduced to Alfredo Germont, who has been fascinated by her for a long time. Rumor has it that he has been enquiring after her health every day. The guests are amused by this seemingly naïve and emotional attitude, and they ask Alfredo to propose a toast. He celebrates true love, and Violetta responds in praise of free love (Ensemble: “Libiamo ne’ lieti calici”). She is touched by his candid manner and honesty. Suddenly she feels faint, and the guests withdraw. Only Alfredo remains behind and declares his love (Duet: “Un dì felice”). There is no place for such feelings in her life, Violetta replies. But she gives him a camellia, asking him to return when the flower has faded. He realizes this means he will see her again the following day. Alone, Violetta is torn by conflicting emotions—she doesn’t want to give up her way of life, but at the same time she feels that Alfredo has awakened her desire to be truly loved (“Ah, fors’è lui… Sempre libera”).

Act II

Violetta has chosen a life with Alfredo, and they enjoy their love in the country, far from society (“De’ miei bollenti spiriti”). When Alfredo discovers that this is only possible because Violetta has been selling her property, he immediately leaves for Paris to procure money. Violetta has received an invitation to a masked ball, but she no longer cares for such distractions. In Alfredo’s absence, his father, Giorgio Germont, pays her a visit. He demands that she separate from his son, as their relationship threatens his daughter’s impending marriage (Duet: “Pura siccome un angelo”). But over the course of their conversation, Germont comes to realize that Violetta is not after his son’s money—she is a woman who loves unselfishly. He appeals to Violetta’s generosity of spirit and explains that, from a bourgeois point of view, her liaison with Alfredo has no future. Violetta’s resistance dwindles and she finally agrees to leave Alfredo forever. Only after her death shall he learn the truth about why she returned to her old life. She accepts the invitation to the ball and writes a goodbye letter to her lover. Alfredo returns, and while he is reading the letter, his father appears to console him (“Di Provenza”). But all the memories of home and a happy family can’t prevent the furious and jealous Alfredo from seeking revenge for Violetta’s apparent betrayal.

At the masked ball, news has spread of Violetta and Alfredo’s separation. There are grotesque dance entertainments, ridiculing the duped lover. Meanwhile, Violetta and her new lover, Baron Douphol, have arrived. Alfredo and the baron battle at the gaming table and Alfredo wins a fortune: lucky at cards, unlucky in love. When everybody has withdrawn, Alfredo confronts Violetta, who claims to be truly in love with the Baron. In his rage Alfredo calls the guests as witnesses and declares that he doesn’t owe Violetta anything. He throws his winnings at her. Giorgio Germont, who has witnessed the scene, rebukes his son for his behavior. The baron challenges his rival to a duel.

Act III

Violetta is dying. Her last remaining friend, Doctor Grenvil, knows that she has only a few more hours to live. Alfredo’s father has written to Violetta, informing her that his son was not injured in the duel. Full of remorse, he has told him about Violetta’s sacrifice. Alfredo wants to rejoin her as soon as possible. Violetta is afraid that he might be too late (“Addio, del passato”). The sound of rampant celebrations are heard from outside while Violetta is in mortal agony. But Alfredo does arrive and the reunion fills Violetta with a final euphoria (Duet: “Parigi, o cara”). Her energy and exuberant joy of life return. All sorrow and suffering seems to have left her—a final illusion, before death claims her.

— Courtesy of Opera News

 

 

 

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