La traviata – Estonian National Opera La traviata An opera by Giuseppe Verdi Libretto by Francesco Maria Piave, based on the play by Alexandre Dumas fils La dame aux camélias Revival on October 29, 2009 The timeless opera classics La traviata has become one of the most beloved operas in the whole world. It is also one of the most frequently performed operas at the Estonian National Opera to which the audience has applauded in seven premieres within nearly a hundred years. The play by Dumas fils was published in 1849 and staged in 1852. Giuseppe Verdi, who attended the premiere, was so fascinated by the play that he based his opera La traviata on it. La traviata premiered the next year. It is a moving love story haunted by the morality of society and Violetta’s past. Ephemeral happiness ends in tragedy.

Conductors: Vello Pähn, Jüri Alperten, Risto Joost Stage Director: Neeme Kuningas Lighting Designer: Esko Suhonen (Finland) Video Sung in Italian with subtitles in Estonian and English (available in the Estonia Theatre Hall) Approx. running time 3 h, two intermissions Dates W, 7 June 2017 / 19:00 20-31 € T, 20 June 2017 / 19:00 17-28 € Comic opera by Wolfgang Amadeus Mozart Premiere at the Estonian National Opera on February 3, 2017 Romantic opera by Richard Wagner Premiere at the Estonian National Opera on September 22, 2016 La Traviata - Royal Opera House Covent Garden (2016) (Production - London , united kingdom) | Opera Online - The opera lovers web site Opera house : Royal Opera House -- Covent Garden Description ‘A toast to the pleasures of life!’ – so sings Violetta, her new admirer Alfredo and her party guests in the opening scene of Giuseppe Verdi’s La traviata.

But beneath the surface glamour of Violetta’s Parisian life run darker undercurrents: her doomed love for Alfredo and the tensions the lovers encounter when they break society’s conventions. La traviata, based on Alexandre Dumas fils’s play La Dame aux camélias, is one of Verdi’s most popular operas, combining drama, profound emotion and wonderful melodies. Richard Eyre’s classic production conveys the indulgent social whirl of 19th-century Paris. It provides a vivid setting for Verdi’s tuneful score, which includes such favourites as Violetta’s introspective ‘Ah fors’è lui’ and ecstatic ‘Sempre libera’; the duet ‘Pura siccome un angelo’ as Giorgio Germont begs Violetta to leave Alfredo; and ‘Parigi, o cara’, in which the lovers poignantly imagine a life that will never be theirs. The role of Violetta (the ‘fallen woman’ of the title) is one of Verdi’s most complex and enduring characters.

La Traviata (Verdi) - Synopsis La Traviata - Synopsis An Opera by Giuseppe Verdi Opera in three acts by Verdi; words by Francesco Maria Piave, after the play "La Dame aux Camelias," by Alexandre Dumas, fils. Produced Fenice Theatre, Venice, March 6, 1853. London, May 24, 1856, with Piccolomini. Paris, in French, December 6, 1856; in Italian, October 27, 1864, with Christine Nilsson. New York, Academy of Music, December 3, 1856, with La Grange (Violetta), Brignoli (Alfredo), and Amodio (Germont père). Nilsson, Patti, Melba, Sembrich and Tetrazzini have been among famous interpreters of the rôle of Violetta in America. Galli-Curci first sang Violetta in this country in Chicago, December 1, 1916.

CHARACTERS ALFREDO GERMONT, lover of VIOLETTA Tenor GIORGIO GERMONT, his father Baritone GASTONE DE LETORIERES . Tenor BARON DAUPHOL, a rival of ALFREDO . Bass MARQUIS DOBIGNY Bass GIUSEPPE, servant to VIOLETTA . Tenor VIOLETTA VALERY, a courtesan Soprano FLORA BERVOIX, her friend .. Mezzo-Soprano ANNINA, confidante of VIOLETTA Soprano Ladies and gentlemen who are friends and guests in the houses of Violetta and Flora; servants and masks; dancers and guests as matadors, picadors, and gypsies. Time: Louis XVI. Place: Paris and vicinity. Bianca Bianchi in the role of Violetta Valery in Verdi's opera, La Traviata, in a production at the Wiener Hofoper, Vienna, Austria. Photo: Rudolf Krziwanek. At its production in Venice in 1853 "La Traviata" was a failure, for which various reasons can be advanced.

The younger Dumass play, "La Dame aux Camelias, " familiar to English playgoers under the incorrect title of "Camille," is a study of modern life and played in modern costume. When Piave reduced his "Traviata" libretto from the play, he retained the modern period. This is said to have non-plussed an audience accustomed to operas laid in the past and given in "costume." But the chief blame for the fiasco appears to have rested with the singers. Graziani, the Alfredo, was hoarse. Salvini-Domatelli, the Violetta, was inordinately stout. The result was that the scene of her death as a consumptive was received with derision. Varesi, the baritone, who sang Giorgio Germont, who does not appear until the second act, and is of no importance save in that part of the opera, considered the role beneath his reputation -- notwithstanding Germonts beautiful solo, "Di Provenza" -- and was none too cheerful over it. There is evidence in Verdis correspondence that the composer had complete confidence in the merits of his score, and attributed its failure to its interpreters.

When the opera was brought forward again a year later, the same city which had decried it as a failure acclaimed it a success. On this occasion, however, the period of the action different from that of the play. It was set back to the time of Louis XIV, and costumed accordingly. There is, however, no other opera today in which this matter of costume is so much a go-as-you-please affair for the principals, as it is in "La Traviata." I do not recall if Christine Nilsson dressed Violetta according to the Louis XIV period, or not; but certainly Adelina Patti and Marcella Sembrich, both of whom I heard many times in the role (and each of them the first time they sang it here) wore the conventional evening gown of modern times. To do this has become entirely permissible for prima donnas in this character. Meanwhile the Alfredo may dress according to the Louis XIV period, or wear the swallow-tail costume of today, or compromise, as some do, and wear the swallow-tail coat and modern waist-coast with knee-breeches and black silk stockings.

As if even this diversity were not yet quite enough, the most notable Germont of recent years, Renaud, who, at the Manhattan Opera House, sang the role with the most exquisite refinement, giving a portrayal as finished as a genre painting by Meissonier, wore the costume of a gentleman of Provence of, perhaps, the middle of the last century. But, as I have hinted before, in old-fashioned opera, these incongruities, which would be severely condemned in a modern work, dont amount to a row of pins. Given plenty of melody, beautifully sung, and everything else can go hang. Act I. A salon in the house of Violetta. In the back scene is a door, which opens into another salon. There are also side doors. On the left is a fireplace, over which is a mirror. In the center of the apartment is a dining-table, elegantly laid. Violetta, seated on a couch, is conversing with Dr. Grenvil and some friends. Others are receiving the guests who arrive, among whom are Baron Dauphol and Flora on the arm of the Marquis. The opera opens with a brisk ensemble.

Violetta is a courtesan (traviata). Her house is the scene of a revel. Early in the festivities Gaston, who has come in with Alfred, informs Violetta that his friend is seriously in love with her. She treats the matter with outward levity, but it is apparent that she is touched by Alfreds devotion. Already, too, in this scene, there are slight indications, more emphasized as the opera progresses, that consumption has undermined Violettas health. First in the order of solos in this act is a spirited drinking song for Alfred, which is repeated by Violetta. After each measure the chorus joins in. This is the "Libiamo neliete calici" (Let us quaff from the wine-cup oerflowing). Music is heard from an adjoining salon, toward which the guests proceed. Violetta is about to follow, but is seized with a coughing-spell and sinks upon a lounge to recover. Alfred has remained behind. She asks him why he has not joined the others. He protests his love for her. At first taking his words in banter, she becomes more serious, as she begins to realize the depth of his affection for her.

How long has he loved her? A year, he answers. "Un di felice eterea" (One day a rapture ethereal), he sings. On this the words, "Di quell amor che palpito" (Ah, tis with love that palpitates) are set to a phrase which Violetta repeats in the famous "Ah, fors elui," just as she has previously repeated the drinking song. Verdi thus seems to intend to indicate in his score the effect upon her of Alfreds genuine affection. She repeated his drinking song. Now she repeats, like an echo of heartbeats, his tribute to a love of which she is the object. It is when Alfred and the other guests have retired that Violetta, lost in contemplation, her heart touched for the first time, sings "Ah fors è lui che lanima" (For him, perchance, my longing soul). Then she repeats, in the nature of a refrain, the measures already sung by Alfred.

Suddenly she changes, as if there were no hope of lasting love for woman of her character, and dashes into the brilliant "Sempre libera degg io folleggiare di gioja in gioja" (Ever free shall I still hasten madly on from pleasure to pleasure). With this solo the act closes. Act II. Salon on the ground floor of a country house near Paris, occupied by Alfred and Violetta, who for him has deserted the allurements of her former life. Alfred enters in sporting costume. He sings of his joy in possessing Violetta: "Di miei bollenti spiriti" (Wild my dream of ecstasy). From Annina, the maid of Violetta, he learns that the expenses of keeping up the country house are much greater than Violetta has told him, and that, in order to meet the cost, which is beyond his own means, she has been selling her jewels. He immediately leaves for Paris, his intention being to try to raise money there so that he may be able to reimburse her. After he has gone, Violetta comes in. She has a note from Flora inviting her to some festivities at her house that night.

She smiles at the absurdity of the idea that she should return, even for an evening, to the scenes of her former life. Just then a visitor is announced. She supposes he is a business agent, whom she is expecting. But, instead the man who enters announces that he is Alfreds father. His dignity, his courteous yet restrained manner, at once fill her with apprehension. She has foreseen separation from the man she loves. She now senses that the dread moment is impending. The elder Germonts plea that she leave Alfred is based both upon the blight threatened his career by his liaison with her, and upon another misfortune that will result to the family. There is not only the son; there is a daughter. "Pura siccome un angelo" (Pure as an angel) sings Germont, in the familiar air: Should the scandal of Alfreds liaison with Violetta continue, the family of a youth, whom the daughter is to marry, threaten to break off the alliance. Therefore it is not only on behalf of his son, it is also for the future of his daughter, that the elder Germont pleads.

As in the play, so in the opera, the reason why the rôle of the heroine so strongly appeals to us is that she makes the sacrifice demanded of her -- though she is aware that among other unhappy consequences to her, it will aggravate the disease of which she is a victim and hasten her death, wherein, indeed, she even sees a solace. She cannot yield at once. She prays, as it were, for mercy: "Non sapete" (Ah, you know not). Finally she yields: "Dite alla giovine" (Say to thy daughter); then "Imponete" (Now command me); and, after that, "Morro -- la mia memoria" (I shall die -- but may my memory). Germont retires. Violetta writes a note, rings for Annina, and hands it to her. From the maids surprise as she reads the address, it can be judged to be for Flora, and, presumably, an acceptance of her invitation. When Annina has gone, she writes to Alfred informing him that she is returning to her old life, and that she will look to Baron Dauphol to maintain her. Alfred enters.

She conceals the letter about her person. He tells her that he has received word from his father that the latter is coming to see him in an attempt to separate him from her. Pretending that she leaves, so as not to be present during the interview, she takes of him a tearful farewell. Alfred is left alone. He picks up a book and reads listlessly. A messenger enters and hands him a note. The address is in Violettas handwriting. He breaks the seal, begins to read, staggers as he realizes the import, and would collapse, but that his father, who has quietly entered from the garden, holds out his arms, in which the youth, believing himself betrayed by the woman he loves, finds refuge. "Di Provenza il mar, il suol chi dal corti cancello" (From fair Provences sea and soil, who hath won thy heart away), sings the elder Germont, in an effort to soften the blow that has fallen upon his son. [Music excerpt] Alfred rouses himself.

Looking about vaguely, he sees Floras letter, glances at the contents, and at once concludes that Violettas first plunge into the vortex of gayety, to return to which she has, as he supposes, abandoned him, will be at Floras fête. "Thither will I hasten, and avenge myself!" he exclaims, and departs precipitately, followed by his father. The scene changes to a richly furnished and brilliantly lighted salon in Floras palace. The fete is in full swing. There is a ballet of women gypsies, who sing as they dance "Noi siamo zingarelli" (Were gypsies gay and youthful). Gaston and his friends appear as matadors and others as picadors. Gaston sings, while the others dance, "E Piquillo, un bel gagliardo" (Twas Piquillo, so young and so daring). It is a lively scene, upon which there enters Alfred, to be followed soon by Baron Dauphol with Violetta on his arm. Alfred is seated at a card table. He is steadily winning.

"Unlucky in love, lucky in gambling!" he exclaims. Violetta winces. The Baron shows evidence of anger at Alfreds words and is with difficulty restrained by Violetta. The Baron, with assumed nonchalance, goes to the gaming table and stakes against Alfred. Again the latters winnings are large. A servants announcement that the banquet is ready is an evident relief to the Baron. All retire to an adjoining salon. For a brief moment the stage is empty. Violetta enters. She has asked for an interview with Alfred. He joins her. She begs him to leave. She fears the Barons anger will lead him to challenge Alfred to a duel. The latter sneers at her apprehensions; intimates that it is the Baron she fears for. Is it not the Baron Dauphol for whom he, Alfred, has been cast off by her? Violettas emotions almost betray her, but she remembers her promise to the elder Germont, and exclaims that she loves the Baron. Alfred tears open the doors to the salon where the banquet is in progress. "Come hither, all!" he shouts. They crowd upon the scene.

Violetta, almost fainting, leans against the table for support. Facing her, Alfred hurls at her invective after invective. Finally, in payment of what she has spent to help him maintain the house near Paris in which they have lived together, he furiously casts at her feet all his winnings at the gaming table. She faints in the arms of Flora and Dr. Grenvil. The elder Germont enters in search of his son. He alone knows the real significance of the scene, but for the sake of his son and daughter cannot disclose it. A dramatic ensemble, in which Violetta sings, "Alfredo, Alfredo, di questo core non puoi comprendere tutto lamore" (Alfred, Alfred, little canst thou fathom the love within my heart for thee) brings the act to a close. Act III. Violettas bedroom. At the back is a bed with the curtains partly drawn. A window is shut in by inside shutters. Near the bed stands a tabouret with a bottle of water, a crystal cup, and different kinds of medicine on it. In the middle of the room us a toilet-table and settee.

A little apart from this is another piece of furniture upon which a night-lamp is burning. On the left is a fireplace with a fire in it. Violetta awakens. In a weak voice she calls Annina, who, waking up confusedly, opens the shutters and looks down into the street, which is gay with carnival preparations. Dr. Grenvil is at the door. Violetta endeavours to rise, but falls back again. Then, supported by Annina, she walks slowly toward the settee. The doctor enters in time to assist her. Annina places cushions about her. To Violetta the physician cheerfully holds out hope of recovery, but to Annina he whispers, as he is leaving, that her mistress has but few hours more to live. Violetta has received a letter from the elder Germont telling her that Alfred has been apprised by him of her sacrifice and has been sent for to come to her bedside as quickly as possible. But she has little hope that he will arrive in time. She senses the near approach of death. "Addio del passato" (Farewell to bright visions) she sighs.

For this solo, [Music excerpt] when sung in the correct interpretive mood, should be like a sigh from the depths of a once frail, but not purified soul. A bacchanalian chorus of carnival revelers floats up from the street. Annina, who had gone out with some money which Violetta had given her to distribute as alms, returns. Her manner is excited. Violetta is quick to perceive it and divine its significance. Annina has seen Alfred. He is waiting to be announced. The dying woman bids Annina hasten to admit him. A moment later he holds Violetta in his arms. Approaching death is forgotten. Nothing again shall part them. They will leave Paris for some quiet retreat. "Parigi, o cara, noi lasceremo" (We shall fly from Paris, beloved), they sing. [Music excerpt] But it is too late. The hand of death is upon the womans brow. "Gran Dio! morir si giovane" (O, God! to die so young). The elder Germont and Dr. Grenvil have come in. There is nothing to be done. The cough that racked the poor frail body has ceased. La traviata is dead.

Not only were "Il Trovatore" and "La Traviata" produced in the same year, but "La Traviata" was written between the date of "Trovatores" premiere at Rome (January 19th) and March 6th. Only four weeks in all are said to have been devoted to it, and part of the time Verdi was working on "Trovatore" as well. Nothing could better illustrate the fecundity of his genius, the facility with which he composed. But it was not the fatal facility that sacrifices real merit for temporary success. There are a few echoes of "Trovatore" in "Traviata"; but the remarkable achievement of Verdi is not in having written so beautiful an opera as "La Traviata" in so short a time, but in having produced in it a work in a style wholly different from "Il Trovatore." The latter palpitates with the passions of love, hatred, and vengeance. The setting of the action encourages these. It consists of palace gardens, castles, dungeons. But "La Traviata" plays in drawing-rooms. The music corresponds with these surroundings. It is vivacious, graceful, gentle.

When it palpitates, it is with sorrow. The opera also contains a notably beautiful instrumental number -- the introduction to the third act. This was a favourite piece with Theodore Thomas. Several times -- years ago -- I heard it conducted by him at his Popular Concerts. Oddly enough, although "Il Trovatore" is by far the more robust and at one time was, as I have stated, the most popular opera in the world, I believe that today the advantage lies with "La Traviata," and that, as between the two, there belongs to that opera the ultimate chance of survival. I explain this on the ground that, in "Il Trovatore" the hero and heroine are purely musical creations, the real character drawing, dramatically and musically, being in the role of Azucena, which, while a principal role, has not the prominence of Leonora or Manrico. In "La Traviata," on the other hand, we have in the original of Violetta -- the Marguerite Gauthier of Alexandre Dumas, fils -- one of the great creations of modern drama, the frail woman redeemed by the touch of an artist. Piave, in his libretto, preserves the character.

In the opera, as in the play, one comprehends the injunction, "Let him who is not guilty throw the first stone." For Verdi has clothed Violetta in music that brings out the character so vividly and so beautifully that whenever I see "Traviata" I recall the first performance in America of the Dumas play by Bernhardt, then in her slender and supple prime, and the first American appearance in it of Duse, with her exquisite intonation and restraint of gesture. In fact, operas survive because the librettist has known how to create a character and the composer how to match it with his musical genius. Recall the dashing Don Giovanni; the resourceful Figaro, both in the Mozart and the Rossini opera; the real interpretive quality of a mild and gracious order in the heroine of "La Sonnambula" -- innocence personified; the gloomy figure of Edgardo stalking through "Lucia di Lammermoor"; the hunchback and the titled gallant in "Rigoletto," and you can understand why these very old operas have lived so long. They are not make believe; they are real.

Search this Site La Traviata by Giuseppe Verdi - Opera in three acts La Traviata by Giuseppe Verdi Opera in three acts Libretto by Francesco M. Piave La traviata “The Fallen Woman” is an opera in three acts by Giuseppe Verdi set to an Italian libretto byFrancesco Maria Piave. It is based on La dame aux Camélias (1852), a play adapted from the novel by Alexandre Dumas, fils. The opera was originally entitled Violetta, after the main character. It was first performed on 6 March 1853 at the La Fenice opera house in Venice. Piave and Verdi wanted to follow Dumas in giving the opera a contemporary setting, but the authorities at La Fenice insisted that it be set in the past, “c. 1700”. It was not until the 1880s that the composer and librettist’s original wishes were carried out and “realistic” productions were staged.

Cast & Crew VIOLETTA VALERY – Soprano – Fulvia Palazzo ALFREDO GERMONT – Tenore – Delfo Paone GIORGIO GERMONT – Baritono – Paolo Drigo FLORA BERVOIX / ANNINA – Soprano – Maria De Giglio GASTONE, VISCONTE DI LÉTORIÈRES – Tenore – Domenico Venturini BARONE DOUPHOL – Baritono – Leo Civati MARCHESE D’OBIGNY / DOTTOR GRENVIL – Basso – Silvano Arcadi UN COMMISSIONARIO – Basso – Luca Renzetti GIUSEPPE, SERVO DI VIOLETTA – Tenore – Antonio Ascani MATADOR – Ballerini – Antonino Agliano’, Massimo Bartucci ZINGARELLA – Ballerine – Borana Qirjazi, Michaela Giada Ventura MAESTRO CONCERTATORE E DIRETTORE – Americo Caretti REGIA E COREOGRAFIE – Minea De Mattia MAESTRO DEL CORO – Antonio Ascani SCENE E COSTUMI – Opera in Roma Select Category

 07 March 2009 (Sat), 19:00 - "La traviata".

Giuseppe Verdi (opera in three acts, four scenes) (Opera) - World famous Mariinsky (Kirov) Ballet and Opera Theatre - Opera and Concert Hall - BalletAndOpera.org World premiere: 6 March 1853, La Fenice, Venice Premiere in Russia: 26 April 1868 Mariinsky theatre, St Petersburg, Russia opera in three acts, four scenes (semi-staged) Libretto by Francesco Maria Piave, after Alexandre Dumas fils's play La Dame aux camelias (1852) Performed in Italian La Traviata: Flop and Triumph It is hard now to believe that an opera as much-loved throughout the world as La Traviata could have flopped so spectacularly at its premiere. The first performance of the opera�� on 6 March 1853 at the famous Teatro La Fenice in Venice�� almost ended in scandal. Part of the audience shouted aggressively and laughed out loud, whistling their extreme disapproval. On the next day, the reviewer from one paper wrote that: "The sotto voce music of the final act cannot be heard.

It is drowned out by the audience�s laughter." Verdi himself wrote to a friend: "La Traviata yeasterday was a fiasco. Who is to blame, me or the singers?... Time will tell." The composer could only guess at the reasons�� the renowned prima donna Fanny Salvini-Donatelli had such a full figure that it was impossible to believe her Violetta was dying of consumption; the tenor Ludovico Graziani (Alfredo) had a cold; the baritone Felice Varesi (Giorgio Germont) had not learned his part properly... If only that had been all! Verdi had brought to the stage the heroine of Alexandre Dumas fils�s play La dame aux Cam�lias�� a demimondaine (in Italian la traviata means "the fallen one") whose existence is shown as pure and unselfishly loving when compared with the deceits and corruption of �polite� society. The composer knew the risk that he was taking when he wrote to a friend: "The subject is contemporary. Others might not attempt to broach it because of propriety, because of the age, or because of a thousand other silly prejudices...

I broach it with the greatest pleasure." If only Verdi had followed centuries of tradition and chosen a love story with nymphs and cupids, or at least taken his characters from a distant age, then �polite� society would probably have welcomed his new opera. But when it was contemporary characters on the stage instead of mythological figures or the heroes of knightly romances? When the action doesn�t take place in ancient ruins or a medieval castle? When the heroes wander round not in classical togas or crusader armour, but in the latest Paris fashions? Sorry, no! We�ve come to the opera, and we expect everything to look like an opera! (It�s worth noting in brackets that contemporary directors are universally enamoured with the conceit of dressing all their characters�� from Wagnerian gods and Shakespearian heroes to the characters of Glinka and Mussorgsky�� in modern suites and miniskirts). A year later, on 6 May 1854, La Traviata was performed with triumphant success on the stage of another Venice opera theatre, San Benedetto.

While making almost no changes to the score, Verdi submitted to the tastes of music-lovers and opera-goers: the characters were robed in historic costumes. "Thank God they�re not us!", sighed the �polite� audience with relief. They did not notice the most important aspect of Verdi�s new opera, or rather without noticing that they were being taught what was most important�� the new language. New not in the sense of radical innovation in harmonics or orchestration, but new in the essence and dignity of the music itself, in the honesty and naturalness of the musical speech, and in the truth of the emotions. This was what forced (taught!) the audience to empathize with the heroine, who was transformed from a product that could be bought into a human being with loves and passions. This was what made La Traviata an opera for everybody�� in other words, a true masterpiece. Yosif Rayskin Feedback If you need help or have a question for Customer Service, contact us . Our Help pages often contain the answers to your questions. If it don't answer your question, please fill in brief form below.

Name: Order ID or Customer ID (optional) E-mail: La Traviata - Google Groups La Traviata I'm looking for videoregistrations from "La Traviata" for exemple: The film "Camille with Greta Garbo, Ashtons ballet "Marguerite and Armand for Fonteyn and Noerejew and Zeffirelli's film about the Traviata. Who can help me? This should get you started. When you finish with these, you should take a look at some of the more obscure references and those since "Opera on Screen" was published. The story of La Traviata has been very popular with filmmakers though many of the films are based on Alexandre Dumas' source novel and play La Dame aux Camélias. Dumas modeled his heroine on Alphonsine Plessis whose Paris grave has become a tourist site. In the Dumas play this glamorous lady of easy virtue is called Marguerite Gautier but in the opera Giuseppe Verdi and librettist Francesco Maria Piave call her Violetta. Despite this the stage, opera and screen stories are essentially the same.

In the opera Violetta falls in love with Alfredo Germont and gives up her hedonistic life to live with him even though she knows she is dying. Alfredo's father persuades her to break up with his son for the good of his family and sister. The lovers are are reconciled at her deathbed but it is too late. Violetta/Marguerite has been portrayed on screen nearly as often as Carmen. See also Giuseppe Verdi. 1947 The Lost One La Signora delle Camelie, Carmine Gallone's film of La Traviata, begins with Verdi and Dumas standing beside the grave of the Parisian courtesan who inspired the story and talking about her life and loves. The rest of the film is the opera. Nelli Corradi portrays Violetta with the role sung by Ornella Fineschi, Gino Mattera sings and acts Alfredo and Manfredi Polverosi plays Germont with the singing by Tito Gobbi. Giuseppe Morelli conducts the Rome Opera Orchestra and Chorus. Black and white. In Italian. 84 minutes. 1950 CBS Opera Television Theatre Lawrence Tibbett stars as Germont in this CBS Opera Television Theater production.

Elaine Malbin sings the role of Violetta with Brooks McCormack as her Alfredo. The opera is sung in English in a translation by George Meade. Henry Souvaine was producer, Herbert Graf was stage director and Richard Rychtarik designed the sets. Faust Cleva conducts the CBS orchestra. Byron Paul directed the telecast. Black and white. In English. 95 minutes. Video at MTR. 1953 Lucia Evangelista film Lucia Evangelista is Violetta in this highlights film made for the Opera Cameos series. Giulio Gari is Alfredo, Frank Valentini is Germont and Carlo Tomantelli is Dr. Grenville. The opera was staged by Anthony Stivanello and filmed by Carlo Vinti and Marion Rhodes. Giuseppe Bamboschek conducts the orchestra. The film was shown in the U.S. in a double bill with Cavalleria Rusticana. Color. In Italian. 53 minutes. Lyric/Video Yesteryear videos. 1954 Beverly Sills in Opera Cameos Beverly Sills sings Violetta in this film of the third act of the opera produced for the Opera Cameos television series.

John Druary is Alfredo and Frank Valentino is Germont. Tenor Giovanni Martinelli introduces the arias and Giuseppe Bamboschek conducts the orchestra. Carlo and Joseph Vinti wrote and directed the film. Black and white. 30 minutes. Video at MTR. Metropolitan Opera baritone Igor Gorin sings Germont with Elaine Malbin as Violetta and John Alexander as Alfredo in this NBC Television Opera production by Samuel Chotzinoff. Peter Herman Adler was artistic director and Herbert Grossman conducts the Symphony of the Air Orchestra. The opera is sung in an English translation by Joseph Machlis. Kirk Browning directed the live telecast on April 21, 1957. Color. In English. 120 minutes. Lyric video. 1956 Richard Tucker on Voice of Firestone Richard Tucker sings Germont in this highlights version of La Traviata performed on the Voice of Firestone television series on March 3, 1963. Elaine Malbin is Violetta and Russell Hammar is Alfredo. The scenes are fully staged with sets and extras and the orchestra is conducted by Howard Buckley. Black and white. In Italian with English introductions.

14 minutes. On VAI video A Firestone Verdi Festival. 1966 Anna Moffo film Anna Moffo stars as Violetta in this visually opulent and vocally splendid Italian film which one critic considers the best performance that exists in any form. Moffo is in peak form and ably partnered by the great Gino Bechi as Germont. He was 55 at the time but still in great voice. Franco Bonisoli is Alfredo and Afro Poli is Doctor Grenvil. Giuseppe Patanè conducts the Orchestra and Chorus of the Rome Opera House. Mario Lanfranchi directed the film. Color. In Italian with English plot summaries. 113 minutes. VAI video. 1973 Valerie Masterson film Valerie Masterson is Violetta, Kenneth Woollam is Alfredo and Michael Wakeham is Germont in this English-language film made for the Focus on Opera series. It was filmed by Peter Seabourne at Knebworth House in Hertfordshire. John J. Davies conducts the Classical Orchestra. Color. In English. 57 minutes. Joan Sutherland stars in this highlights version made for the Who's Afraid of Opera? series.

She tells the story to puppets and performs the role of Violetta with Ian Caley as Alfredo, Pieter Van Der Stolk as Germont, Alisa Gamley as Annina, Gordon Wilcock as Baron Douphol, John Gibbs as Dr. Grenvil and Monica Sinclair as Flora. The dialogue is in English, the singing is in Italian. George Djurkovic designed the sets and Richard Bonynge conducts the London Symphony Orchestra. Ted Kotcheff directed. Color. 30 minutes. Kultur video. 1973 Berlin State Opera Mirella Freni stars as Violetta in this expansive three-nation telecast of a Berlin Staatsoper production. Franco Bonisolli sings Alfredo and Sesto Bruscantini is Germont. Lamberto Gardelli conducts the Berlin State Orchestra and Wolfgang Nagel directed the telecast for Austria, Italy and Germany. Color. In Italian. 90 minutes. On Japanese laserdisc. 1976 Beverly Sills at Wolf Trap Beverly Sills is in peak form singing Violetta in this Wolf Trap production by Tito Capobianco. Henry Price is her beloved Alfredo while Richard Fredricks is Germont.

Julius Rudel conducts the Wolf Trap Orchestra and Chorus and Kirk Browning directed the video. Color. In Italian with English subtitles. 145 minutes. VAI video. 1981 Metropolitan Opera Ileana Cotrubas sings Violetta, Placido Domingo is Alfredo and Cornell MacNeil is Germont in this Metropolitan Opera production by Colin Graham. Ariel Bybee is Flora and Dana Talley is Gastone. Tanya Moiseiwitsch designed the sets and James Levine conducts the Metropolitan Opera Orchestra and Chorus. Brian Large directed the video taped on March 28 and telecast on Sept. 30, 1981. Color. In Italian with English subtitles. 140 minutes. Video at MTR. 1982 Franco Zeffirelli film Teresa Stratas is an utterly believable and heart-breaking Violetta in this great opera film, Franco Zeffirelli's finest achievement in the genre. He uses a clever conceit to frame the story imagining the opera as a feverish memory by Violetta while she is dying. There are clever cinematic devices to retain interest and keep the narrative flowing including complex flashbacks and camera movements.

The bravura rococo style is exactly in keeping with Violetta's memories and rightly romantic. Stratas is ably partnered by Placido Domingo as a powerful Alfredo and Cornell MacNeil as a convincing Germont. The film is beautifully photographed by Ennio Guarnieri, costumed by Piero Tosi and written and designed by Zeffirelli. James Levine conducts the Metropolitan Opera Orchestra and Chorus. Color. In Italian with English subtitles. 105 minutes. MCA video. 1987 Glyndebourne Festival Marie McLaughlin is superb as Violetta in this Glyndebourne Festival production by Peter Hall. Walter MacNeil is Alfredo and Brent Ellis is Germont. John Gunter designed the sets and costumes while Bernard Haitink conducts the London Philharmonic Orchestra and Glyndebourne Festival Chorus. Hall also directed the video which was produced by Derek Bailey. Color. In Italian with English subtitles. 135 minutes. Home Vision video. Tiziana Fabbricini, who has been spoken of as a new Callas, portrays Violetta while Roberto Alagna, who some think may take over the mantle of Pavarotti, sings the role of Alfredo.

Paolo Coni is fine as Germont. Italian film director Liliana Cavani staged the opera and shot it in HDTV giving it the gloss of 35mm film. Riccardo Muti conducts as if he is excited by this fine production with singers who can act. The sound and picture on the laser disc are especially notable. Color. In Italian with English subtitles. 148 minutes. Sony video and laser. 1992 La Fenice, Venice Edita Gruberova is outstanding as Violetta with Neil Schicoff as Alfred and Giorgio Zancanaro as Germont in this excellent La Fenice production directed and designed by Pier Luigi Pizzi. It was recorded live in December 1992 in the Venice theater where Verdi premiered the opera in 1853. It may not have been a success that first night but it certainly looks splendid now. Carlo Rizzi conducts the Teatro La Fenice Orchestra and Chorus. Derek Bailey directed the video. Color. In Italian. 145 minutes. Teldec video and laser.

1994 Royal Opera Romanian soprano Angela Gheorghiu was 29 when she was acclaimed for her performance as Violetta in this Royal Opera, Covent Garden, production by Richard Eyre. It was the first Traviata for both her and conductor Sir Georg Solti and the critics adored it. Frank Lopardo sings Alfredo with Leo Nucci as Germont. Bob Crowley designed the sets and Solti conducted the Royal Opera House Orchestra and Chorus. Peter Maniura and Humphrey Burton directed the video shown on BBC in December 1994. Color. In Italian with English subtitles. 135 minutes. London video and laserdisc. 1995 New York City Opera Janice Woods sings the role of Violetta with Stephen Mark Brown as Alfredo in this New York City Opera production by Renata Scotto. Louis Otey is Germont, Carla Wood is Flora, Mark Delavan is the Baron and John Calvin West is Dr. Grenvil. Thierry Bosquet designed the costumes and sets and Yves Abel conducts the New York City Opera Orchestra. Sherrill Milnes hosted the backstage programs.

Kirk Browning directed the video telecast on March 28, 1995 in the Live from Lincoln Center series. Color. In Italian with English subtitles. 175 minutes. Early/related films The role of Violetta-Marguerite was one of the most popular females roles in the cinema in the silent era. Though many of the films claimed to be based on the Dumas story rather than the opera, this was usually to avoid paying copyright and they were normally screened with music from the opera. Oda Alstrup stars as Marguerite in Kamieladamen, a Danish film of the Dumas/Verdi story released in the U.S. as The Lady with the Camelias. It was directed by Viggo Larsen for Nordisk Films. About 14 minutes. 1908 Oskar Messter sound film This German film of an aria from the opera was screened with the music played on a synchronized phonograph. Many films of this kind were made by Oskar Messter in Berlin. About 4 minutes.

1909 Vittoria Lepanto film Vittoria Lepanto stars as Marguerite in La Signora delle Camelie, an Italian film based on the Dumas novel but screened with music from the opera. Ugo Falena directed for Film d'Arte Italiana. About 14 minutes. A print survives. Stage immortal Sarah Bernhardt (ten aged 67) stars as Marguerite in La Dame aux Camélias, a French adaptation of the Dumas play. This was one of the most famous early silent films and was often screened with the Verdi music. André Calmettes and Henry Pouctal directed. About 12 minutes. Prints survive. Gertrude Shipman stars as Marguerite in this American film version of the Dumas play. It was made for the Champion Film Company and directed by Herbert Brenon. About l5 minutes. 1915 Francesca Bertini film Francesca Bertini, Italy's top film diva at this time, portrays Marguerite in La Signore delle Camelie, an Italian film based on the Dumas play. Gustavo Serena directed for Caesar Film. About 65 minutes.

1915 Hesperia film Italian diva Hesperia stars as Marguerite in this La Signore delle Camelie, a rival 1915 Italian film of the Dumas play. Her husband Baldassarre Negroni directed for Tiber Film. Hesperia's real name was Olga Mabelli and Marguerite was her most famous role. About 70 minutes. 1915 Clara Kimball Young film Clara Kimball Young stars as Marguerite in Camille, an American film based on the Dumas play. Albert Capellani directed for the World Film Corp. About 70 minutes. Theda Bara stars as Marguerite in Camille, an American film based on the Dumas play. J. Gordon Edwards directed for the Fox Film Corp. About 70 minutes. Erna Morena stars as Marguerite in Die Kameliendame, a German film of the Dumas play. Paul Leni, who later came to Hollywood, directed and also designed the sets and costumes. About 70 minutes.

1921 Alla Nazimova film Alla Nazimova portrays Marguerite in Camille with newcomer Rudolph Valentino as her young lover in this American film of the Dumas play. Ray C. Smallwood directed for Metro. About 75 minutes. 1921 Pola Negri film Pola Negri stars as Violetta in the German film Arme Violetta directed by Paul Ludwig Stein. About 80 minutes. 1922 Thelma Murray film Thelma Murray stars as Violetta with Clive Brook as Alfredo in this British film of the Verdi opera made for the Tense Moments from Operas series. H. B. Parkinson produced and George Wynn directed. About 12 minutes. 1925 Tora Teje film Swedish actress Tora Teje stars as Marguerite in Damen med Kameliorna, a Swedish film based on the Dumas play. Olof Molander directed. About 75 minutes. Norma Talmadge stars as Marguerite in Camille, an American film based on the Dumas play. Fred Niblo directed for First National. About 90 minutes.

1927 Peggy Carlisle film Peggy Carlisle portrays Violetta, Anthony Ireland is Alfredo and Booth Conway is Baron Douphol in this English film of scenes from the opera. H. B. Parkinson directed for the Cameo Opera series. It was screened with singers on stage performing the arias. 18 minutes. 1934 Yvonne Printemps film Yvonne Printemps stars as Marguerite in La Dame aux Camélias, a French film based on the Dumas novel. Abel Gance supervised and Fernand Rivers directed. In French. 118 minutes. 1936 Women of Glamour Armanda Chirot is the soprano who sings Violetta's aria "Sempre libera" in this American feature film. Virginia Bruce portrays a modern gold digger. Gordon Wiles directed for Columbia Pictures. 72 minutes. 1936 Greta Carbo film Herbert Stothart's score for George Cukor's Camille was created from themes from Verdi's La Traviata. Greta Garbo stars as Marguerite opposite Robert Taylor in this MGM film based on the Dumas novel and play. 108 minutes.

1937 100 Men and a Girl Deanna Durbin sings Violetta's aria "Libiamo" in a story about the precocious daughter of a musician. Her co-star is conductor Leopold Stokowski. Henry Coster directed for Universal. Black and white. 83 minutes. 1938 The Goldwyn Follies Metropolitan Opera soprano Helen Jepson sings Violetta opposite Met tenor Charles Kullmann's Alfredo on stage in La Traviata in this Goldwyn musical. They perform "Libiamo" and "Sempre libera." Jepson plays an opera singer who interests producer Adolphe Menjou. George Marshall directed. Black and white. 120 minutes. 1940 Amami, Alfredo! This is an Italian "parallel film" of La Traviata made after the success of a similar film based on Madama Butterfly. Maria Cebotari stars as Maria Dalgeri, a famous singer who persuades La Scala to present an opera by Claudio Gora. Much Verdi music later, the illness that struck down the heroine of La Traviata threatens to destroy Cebotari.

Luckily it's a poor diagnosis and she really isn't sick so there's a happy ending. Carmine Gallone directed. The German title is Melodie der Liebe. Black and white. In Italian. 86 minutes. 1943 Thousands Cheer Kathryn Grayson sings Violetta's aria "Sempre libera" in this all-star variety film in which she is the love interest of Army private Gene Kelly. George Sidney directed. Black and white. 126 minutes. 1945 The Lost Weekend Writer/director Billy Wilder offers an ironic reason why alcoholics should avoid La Traviata. Ray Milland flees his seat at the Metropolitan Opera as the "Libiamo" drinking song reminds him of the bottle hidden in his coat in the cloakroom. He then has to sit out the opera waiting for Jane Wyman, the woman whose coat has been mixed with his. After all that the bottle gets broken but he wins the woman. Black and white. 101 minutes. 1952 Micheline Presle film Micheline Presle stars as Marguerite in La Dame aux Camélias, a French film based on the Dumas novel. Raymond Bernard directed. Color. In French. 111 minutes.

Maria Felix stars as Camelia in Camelia, Passion Sauvage, a Mexican film of the story based on the Dumas novel. Roberto Gavaldon directed. Black and white. In Spanish. 89 minutes. 1953 Barbara Laage film Barbara Laage portrays the heroine in Traviata 53, a modernized Italian adaptation of the Verdi opera and Dumas novel. Vittorio Cottafavi directed. Black and white. In Italian. 92 minutes. 1962 Sarita Montiel film Sarita Montiel stars as Marguerite aka Lola in La Bella Lola, a Spanish film version of the story directed by Alfonso Balcazar. Black and white. In Spanish. 88 minutes. 1965 Fists in the Pocket Marco Bellochio's powerful Italian film I Pugni in Tasca uses Violetta's aria "Sempre libera" to emphasize the mental agony of Lou Castel, the protagonist of the film. Black and white. In Italian. 113 minutes. 1966 Trans-Europ-Expres Alain Robbe-Grillet's post-modernist film uses excerpts from La Traviata for most of its music.

It was what the director said he wanted so Michael Fano arranged the Verdi opera music which was performed by the Prima Symphony Orchestra. Color. In French. 90 minutes. 1970 Camille 2000 Radley Metzer transfers the Dumas story to contemporary Rome with Danielle Gaubert as Margherita Gautier and Nino Castelnuovo as Armand Duval. It's also a bit more nude than usual. Color. In Italian. 104 minutes. 1973 Don't Look Now Nicolas Roeg features the La Traviata Brindisi on the soundtrack of this erotic Daphne Du Maurier thriller set in Venice. Julie Christie and Donald Sutherland are the stars. Color. In English. 110 minutes. 1980 Isabelle Huppert film Isabelle Huppert stars as Marguerite in La Dama delle Camelie, an Italian film based on the life of courtesan Alphonsine Plessis who inspired the Dumas novel. Mauro Bolognini directed. Color. In Italian. 92 minutes. The Australian Maestro's Company presents scenes from the opera with puppets.

The story concerns two children who discover the puppets rehearsing operas under an old theater. The La Traviata voices belong to Pilar Lorengar in the role of Violetta, Giacomo Aragall as Alfredo and Dietrich Fischer-Diescau as Germont. Lorin Maazel conducts the Berlin Deutsche Oper Orchestra. William Fitzwater directed the video. Color. Dialogue in English, arias in Italian. 30 minutes. VAI video. 1984 Gretta Scacci film Greta Scacci stars as Marguerite in The Lady of the Camelias, a British television film based on the Dumas novel and directed by Desmond Davis. Color. In English. 100 minutes. 1989 The Europeans The Waltz from La Traviata is featured somewhat ironically at the ball in this splendid adaptation of the Henry James novel. James Ivory directed and Ismail Merchant produced. Color. 90 minutes. 1990 Pretty Woman Verdi's pretty 19th century courtesan strikes a responsive chord in a pretty 20th century prostitute in this hit film.

Hollywood streetwalker Julia Roberts is taken to San Francisco's War Memorial Opera House by millionaire Richard Gere who wants to observe her response to opera. Gere tells her that the first time one sees opera is very important because one falls in love with it at once or it never becomes a part of one's soul. Roberts naturally loves it. Karin Calabro sings the role of Violetta with Bruce Eckstut as Alfredo. Thomas Pastieri arranged and conducted the opera and Garry Marshall directed the film. Color. 117 minutes. 1994 The Adventures of Priscilla Queen of the Desert A drag queen in an elaborate silvery costume on top of a pink bus on an empty highway in the Australian outback mimes to Violetta's aria "E strano!..forsa e lui." This is one of the odder opera scenes in modern cinema but perfectly justified in the context of a film about drag queens driving to the center of Australia. The actual singer is Joan Carden backed by the Sydney Symphony Orchestra. Stephan Elliot wrote and directed the film. Color. 103 minutes. Copyright @ 1997 by Ken Wlaschin. All rights reserved.

Mike Tiziana Fabbricini, who has been spoken of as a new Callas, portrays Violetta while Roberto Alagna, who some think may take over the mantle of Pavarotti, sings the role of Alfredo. Paolo Coni is fine as Germont. Italian film director Liliana Cavani staged the opera and shot it in HDTV giving it the gloss of 35mm film. Riccardo Muti conducts as if he is excited by this fine production with singers who can act. The sound and picture on the laser disc are especially notable. Color. In Italian with English subtitles. 148 minutes. Sony video and laser.<< There's an interesting idea, Fabbricini as the new Callas... perhaps the voiceless, screeching Callas at the end of her career. But even then Callas had style and projected a great deal of emotion. Fabbricini... well let's just say this is the only thing with her in it that I've ever heard of. Does she even sing anymore, I would be surprised. Dan Hartverscheurende La traviata - YouTube Hartverscheurende La traviata Want to watch this again later?

Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Jan 16, 2013 Het aangrijpende verhaal van de opera is gebaseerd op La dame aux camélias van Alexandre Dumas. Willy Decker maakte een enscenering, die regelrecht het hart ingaat, volgens velen onovertroffen in eenvoud en zeggingskracht. Na het enorme succes in 2008 is deze klassieker terug! première Verdi Opera La Traviata 3/4 - Android Apps on Google Play Verdi Opera La Traviata 3/4 ( 4) Description This app is listening to the composer Giuseppe Verdi opera "La Traviata (Italian: La traviata)". Play time is over the entire 2 hours, so we decide to divide the opera to 4 apps according to acts and scenes.

La traviata is an opera in three acts by Giuseppe Verdi set to an Italian libretto by Francesco Maria Piave. It is based on La dame aux Camélias (1852), a play adapted from the novel by Alexandre Dumas, fils. The title La traviata means literally The Fallen Woman, or perhaps more figuratively, The Woman Who Strayed. It was originally entitled Violetta, after the main character. Piave and Verdi wanted to follow Dumas in giving the opera a contemporary setting, but the authorities at La Fenice insisted that it be set in the past, "c. 1700". It was not until the 1880s that the composer and librettist's original wishes were carried out and "realistic" productions were staged.

[Synopsis] Place: Paris and its vicinity Time: Beginning of the 18th century [Popular music] - Miti Truccato Pace (Flora Bervoix) - Dora Carral (Annina) - Tereno Meridionale (Domestico di Flora) - Mario Frosini (Commissionario) - Orchestra e Coro del Maggio Musicale Fiorentino [Instrumentation] The opera uses an orchestra with the following instrumentation: 2 flutes (fl. 2 doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, cimbasso, timpani, cymbals, bass drum, triangle, strings Banda: 2 piccolos, A-flat piccolo clarinet, E-flat clarinet, 2 B-flat clarinets, 2 horns, flugelhorn, 3 trumpets, 2 trombones, tambourine, bass drum, castanets, harp, 2 double bass [La Traviata 1/4] 2.

ACT ONE Dell'invito trascorsa è già l'ora (Coro) [4:57] 3. Libiamo ne'lieti calici (Alfredo) [2:57] 4. Che è ciò? (Tutti) [2:20] 5. Un dì felice, eterea...Si ridesta in ciel l'aurora (Alfredo) [6:27] 6. E strano! - Ah, fors'è lui (Violetta) [7:02] 7. Follie! Delirio vano è questo! - Sempre libera (Violetta) [4:58 ] [La Traviata 2/4] 1. ACT TWO Scene 1 Lunge da lei per me non v'ha diletto (Alfredo) [1:48] 2. De' miei bollenti spiriti...Annina, donde vieni? (Alfredo) [2:47] 3. O mio rimorso!...Alfredo? (Alfredo) [6:53] 4.

Pura, siccome un angelo...Un dì, quando le veneri (Germont) [7:07] 5. Dite alla giovine...Non amarlo ditegli (Violetta) [9:46] 6. Dammi tu forza, o ciel!...Ah, vive sol quel core (Violetta) [6:33 ] 7. Di Provenza il mar...Né risponde d'un padre... (Germont) [4:39] 8. No, non udrai rimproveri (Germont) [3:40] [La Traviata 3/4] 1. Scene 2 Avrem lieta di maschere la notte...Di Madridi (Flora) [6:31] 2. Alfredo! Voi!...Or tutti a me...Ogni suo aver (Tutti) [8:18] 3. Di sprezzo degno...Alfredo, Alfredo, di questo core (Germont) [6:27] [La Traviata 4/4] 1. ACT THREE Prelude.

Annina? Comandate? (Violetta) [8:06] 2. Tenesta la promessa - Attendo, né a me giungon mai - Addio del passato (Violetta) [8:17] 3. Largo a quadrupede (Coro de maschere) [0:48] 4. Signora... Che t'accade?...Parigi, o cara (Annina, Violetta) [1:47] 5. Parigi, o cara...Ah! Gran Dio! (Alfredo) [9:50] 6. Ah, Violetta!...Se una pudica vergine (Germont) [6:12] (Quotation: Wikipedia) Giuseppe Verdi Oberto, Conte di San Bonifacio (17.11.1839 Teatro alla Scala, Milan). Opera in 2 acts, Temistocle Solera . Un giorno di regno (5.9.1840 Teatro alla Scala, Milan) [Il finto Stanislao].

Melodramma giocoso in 2 acts, Felice Romani, after the comedy Le Faux Stanislas by Alexandre Vincent Pineu-Duval. Nabucodonosor (9.3.1842 Teatro alla Scala, Milan) (Nabucco). Opera in 4 parts, Temistocle Solera , after the play Nabucodonosor by Anicet-Bourgeois and Francis Cornue. I lombardi alla prima crociata (11.2.1843 Teatro alla Scala, Milan). Opera in 4 acts, Temistocle Solera , after the poem of the same name by Tommaso Grossi. Ernani (9.3.1844 Teatro la Fenice, Venice). Opera in 4 acts, Francesco Maria Piave , after the play Hernani by Victor Hugo. I due Foscari (3.11.1844 Teatro Argentina, Rome). Opera in 3 acts, Francesco Maria Piave , after Lord Byron's play The Two Foscari. Giovanna d'Arco (15.2.1845 Teatro alla Scala, Milan).

Opera in a prologue & 3 acts, Temistocle Solera , after Schiller's drama Die Jungfrau von Orleans. Alzira (12.8.1845 Teatro San Carlo, Naples). Opera in a prologue and 2 acts, Salvatore Cammarano , after Voltaire's tragedy Alzire, ou les Amï¿œricains. Attila (17.3.1846 Teatro la Fenice, Venice). Opera in a prologue & 3 acts, Temistocle Solera (and Francesco Maria Piave ), after the play Attila, Kï¿œnig der Hunnen by Zacharias Werner. Macbeth (14.3.1847 Teatro della Pergola, Florence). Opera in 4 acts, Francesco Maria Piave , after Shakespeare's play. I masnadieri . (22.7.1847 Her Majesty's Theatre, London).

Opera in 4 acts, Andrea Maffei, after Schiller's drama Die Rï¿œuber Jï¿œrusalem [rev of I lombardi] (26.11.1847 Acadï¿œmie Royale de Musique, Paris). Opera in 4 acts, Alphonse Royer & Gustave Vaï¿œz. Il corsaro (25.10.1848 Teatro Grande, Trieste). Opera in 3 acts, Francesco Maria Piave , after Lord Byron's poem The Corsair. La battaglia di Legnano (27.1.1849 Teatro Argentina, Rome). Opera in 4 acts, Salvatore Cammarano , after the play La Battaille de Toulouse by Joseph Mï¿œry. Luisa Miller (8.12.1849 Teatro San Carlo, Naples). Opera in 3 acts, Salvatore Cammarano , after Schiller's drama Kabale und Liebe. Stiffelio (16.11.1850 Teatro Grande, Trieste).

Opera in 3 acts, Francesco Maria Piave , after the play Le Pasteur, ou L'ï¿œvangile et le Foyer by ï¿œmile Souvestre and Eugï¿œne Bourgeois. Rigoletto (11.3.1851 Teatro la Fenice, Venice). Opera in 3 acts, Francesco Maria Piave , after the drama Le Roi s'amuse by Victor Hugo. Il trovatore (19.1.1853 Teatro Apollo, Rome). Opera in 4 acts, Salvatore Cammarano (and Leone Emanuele Bardare), after the play El Trovador by Antonio Garcï¿œa Gutiï¿œrrez. La traviata (6.3.1853 Teatro la Fenice, Venice). Opera in 4 parts, Francesco Maria Piave , after the play La Dame aux camï¿œlias by Alexandre Dumas fils. Les vï¿œpres siciliennes (13.6.1855 Acadï¿œmie Impï¿œriale de Musique, Paris).

Grand opera in 5 acts, Augustin Eugï¿œne Scribe & Charles Duveyrier, after their libretto Le Duc d'Albe Giovanna de Guzman (I vespri siciliani) [rev of Les vï¿œpres siciliennes] (26.12.1855 Teatro Regio, Parma). Scribe & Eugenio Caimi. Simon Boccanegra (12.3.1857 Teatro la Fenice, Venice). Opera in a prologue and 3 acts, Francesco Maria Piave (and Giuseppe Montanelli), after the play Simon Bocanegra by Antonio Garcï¿œa Gutiï¿œrrez. Aroldo [rev of Stiffelio] (16.8.1857 Teatro Nuovo, Rimini). Opera in 4 parts, Francesco Maria Piave Un ballo in maschera (17.2.1859 Teatro Apollo, Rome) Opera in 3 acts, Antonio Somma , after Scribe's libretto Gustave III.

La forza del destino (10.11.1862 Bol'shoy Kamennï¿œy Teatr, St. Petersburg). Opera in 4 acts, Francesco Maria Piave , (and Andrea Maffei) after the play Don Alvaro, o La Fuerza del sino by Angel de Saavedra, Duke of Rivas, and Schiller's drama Wallensteins Lager. Macbeth [rev] (19.4.1865 Thï¿œâtre Lyrique, Paris). Don Carlos (11.3.1867 Acadï¿œmie Impï¿œriale de Musique, Paris) Grand opera in 5 acts, Joseph Mï¿œry & Camille du Locle, after Schiller's dramatic poem Don Carlos, Infant von Spanien La forza del destino [rev] (27.2.1869 Teatro alla Scala, Milan). Libretto additions by Antonio Ghislanzoni Aida (24.12.1871 Opera House, Cairo). Opera in 4 acts, Antonio Ghislanzoni , from a scenario by Auguste Mariette.

Don Carlo [rev of Don Carlos] (1872, Naples). Translation by Achille de Lauziï¿œres, with additions by Antonio Ghislanzoni . Simon Boccanegra [rev] (24.3.1881 Teatro alla Scala, Milan). Libretto additions and changes by Arrigo Boï¿œto . La force du destin [rev of La forza del destino] (14.3.1883, Antwerp). Libretto translated and adapted by Charles Nuitter & Camille du Locle. Don Carlo [rev 2 of Don Carlos] (10.1.1884 Teatro alla Scala, Milan). Opera in 4 acts. Don Carlo [rev 3 of Don Carlos] (29.12.1886, Modena). Opera in 4 acts. Otello (5.2.1887 Teatro alla Scala, Milan). Opera in 4 acts, Arrigo Boï¿œto , after Shakespeare's Othello. Falstaff (9.2.1893 Teatro alla Scala, Milan).

Opera in 3 acts, Arrigo Boï¿œto , after Shakespeare's Falstaff and Henry IV, (1 & 2). Other Larger Works Inno delle Nazioni (1862, London) String Quartet in e (1873) Requiem (22.5.1874, Church of San Marco, Milan): mass in memory of Alessandro Manzoni, for four solo voices, chorus, and orchestra Pater noster (1873): for 5-part chorus Ave Maria (1880): for soprano and strings Quatro Pezzi sacri (7.4.1898, Grande Opï¿œra, Paris): Ave Maria: for mixed chorus Stabat Mater: for mixed chorus Laudi alla Vergine Maria: for female chorus Te Deum: for double chorus and orchestra

Question: The Alexandre Dumas play, "La Dame aux Camelias" was the inspiration for which Verdi opera?
Answer: LA TRAVIATA