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© Salzburger Festspiele / Andreas Kolarik
La Traviata
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 July 2026 | ||||||
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Opera in three acts (1853)
Libretto by Francesco Maria Piave, based on the novel La Dame aux camélias (1848) by Alexandre Dumas the Younger
Concert performance
Synopsis
Place: Paris and its vicinity
Time: Beginning of the 19th century
Act 1
The salon in Violetta's house
Violetta Valéry, a famed courtesan, throws a lavish party at her Paris salon to celebrate her recovery from an illness. Gastone, a viscount, has brought with him a friend, Alfredo Germont, a young bourgeois from a provincial family who has long adored Violetta from afar. While walking to the salon, Gastone tells Violetta that Alfredo loves her, and that while she was ill, he came to her house every day. Alfredo joins them, admitting the truth of Gastone's remarks.
Baron Douphol, Violetta's current lover, waits nearby to escort her to the salon. Once there, the Baron is asked to give a toast, but refuses, and the crowd turns to Alfredo, who agrees to sing a brindisi – a drinking song (Alfredo, Violetta, chorus: Libiamo ne' lieti calici – "Let's drink from the joyful cups").
From the next room, the sound of the orchestra is heard and the guests move there to dance. After a series of severe coughs and almost fainting, Violetta begins to feel dizzy and asks her guests to go ahead and to leave her to rest until she recovers. While the guests dance in the next room, Violetta looks at her pale face in her mirror. Alfredo enters and expresses his concern for her fragile health, later declaring his love for her (Alfredo, Violetta: Un dì, felice, eterea – "One day, happy and ethereal"). At first, she rejects him because his love means nothing to her, but there is something about Alfredo that touches her heart. He is about to leave when she gives him a flower, telling him to return it when it has wilted, which will be the very next day.
After the guests leave, Violetta wonders if Alfredo could actually be the one in her life (Violetta: È strano! ... Ah, fors' è lui – "Ah, perhaps he is the one"). But she concludes that she needs freedom to live her life (Violetta, Alfredo: Sempre libera – "Always free"). From off stage, Alfredo's voice is heard singing about love as he walks down the street.
Act 2
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: De' miei bollenti spiriti / Il giovanile ardore – "The youthful ardor of my ebullient spirits"). Annina, the maid, arrives from Paris, and, when questioned by Alfredo, tells him 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, Flora, to a party in Paris that evening. Alfredo's father, Giorgio Germont, is announced and demands that she break off her relationship with his son for the sake of his family, since he reveals that Violetta's relationship with Alfredo has threatened his daughter's engagement (Giorgio: Pura siccome un angelo, Iddio mi diè una figlia – "Pure as an angel, God gave me a daughter") because of Violetta's reputation. Meanwhile, he reluctantly becomes impressed by Violetta's nobility, something which he did not expect from a courtesan. She responds that she cannot end the relationship because she loves Alfredo so much, but Giorgio pleads with her for the sake of his family. With growing remorse, she finally agrees (Violetta, Giorgio: Dite alla giovine, sì bella e pura, – "Tell the young girl, so beautiful and pure,") and says goodbye to Giorgio. In a gesture of gratitude for her kindness and sacrifice, Giorgio kisses her forehead before leaving her weeping alone.
Violetta gives a note to Annina to send to Flora accepting the party invitation and, as she is writing a farewell letter to Alfredo, he enters. She can barely control her sadness and tears; she tells him repeatedly of her unconditional love (Violetta: Amami, Alfredo, amami quant'io t'amo – "Love me, Alfredo, love me as I love you"). Before rushing out and setting off for Paris, she hands the farewell letter to her servant to give to Alfredo.
Soon, the servant brings the letter to Alfredo and, as soon as he has read it, Giorgio returns and attempts to comfort his son, reminding him of his family in Provence (Giorgio: Di Provenza il mar, il suol chi dal cor ti cancellò? – "Who erased the sea, the land of Provence from your heart?"). Alfredo suspects that the Baron is behind his separation from Violetta, and the party invitation, which he finds on the desk, strengthens his suspicions. He decides to confront Violetta at the party. Giorgio tries to stop Alfredo, but he rushes out.
Scene 2: Party at Flora's house
At the party, the Marquis tells Flora that Violetta and Alfredo have separated, much to the amazement of everyone who had previously seen the happy couple. She calls for the entertainers to perform for the guests (Chorus: Noi siamo zingarelle venute da lontano – "We are gypsy girls who have come from afar"; Di Madride noi siam mattadori – "We are matadors from Madrid"). Gastone and his friends join the matadors and sing (Gastone, chorus, dancers: È Piquillo un bel gagliardo Biscaglino mattador – "Piquillo is a bold and handsome matador from Biscay").
Violetta arrives with Baron Douphol. They see Alfredo at the gambling table. When he sees them, Alfredo loudly proclaims that he will take Violetta home with him. Feeling annoyed, the Baron goes to the gambling table and joins him in a game. As they bet, Alfredo wins some large sums until Flora announces that supper is ready. Alfredo leaves with handfuls of money.
As everyone is leaving the room, Violetta has asked Alfredo to see her. Fearing 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 makes that admission and, furiously, Alfredo calls the guests to witness what he has to say (Questa donna conoscete? – "You know this woman?"). He humiliates and denounces Violetta in front of the guests and then throws his winnings at her feet in payment for her services. She faints onto the floor. The guests reprimand Alfredo: Di donne ignobile insultatore, di qua allontanati, ne desti orror! ("Ignoble insulter of women, go away from here, you fill us with horror!").
In search of his son, Giorgio enters the hall and, knowing the real significance of the scene, denounces his son's behavior (Giorgio, Alfredo, Violetta, chorus: Di sprezzo degno sè stesso rende chi pur nell'ira la donna offende. – "A man, who even in anger, offends a woman renders himself deserving of contempt.").
Flora and the ladies attempt to persuade Violetta to leave the dining room, but Violetta turns to Alfredo: Alfredo, Alfredo, di questo core non-puoi comprendere tutto l'amore... – "Alfredo, Alfredo, you can't understand all the love in this heart...".
Act 3
Violetta's bedroom
Dr. Grenvil tells Annina that Violetta will not live long since her tuberculosis has worsened. Alone in her room, Violetta reads a letter from Alfredo's father telling her that the Baron was only wounded in his duel with Alfredo. He has informed Alfredo of the sacrifice she has made for him and his sister; and 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 bei sogni ridenti – "Farewell, lovely, happy dreams of the past").
Annina rushes into the room to tell Violetta of Alfredo's arrival. The lovers are reunited and Alfredo suggests that they leave Paris (Alfredo, Violetta: Parigi, o cara, noi lasceremo – "We will leave Paris, O beloved").
But it is too late: she knows her death approaches (Alfredo, Violetta: Gran Dio!...morir sì giovane – "Great God!...to die so young"). Alfredo's father enters with the doctor, regretting what he has done. After singing a duet with Alfredo, Violetta suddenly revives, exclaiming that the pain and discomfort have left her. A moment later, she dies in Alfredo's arms.
Program and cast
Massimo Zanetti: Musical Direction
Nadine Sierra: Violetta
Piotr Beczala: Alfredo
Luca Salsi: Germont
Chorus of the Opéra de Monte-Carlo
Stefano Visconti: Choral Preparation
Mozarteum Orchestra Salzburg
Großes Festspielhaus
The plans for a Grosses Festspielhaus (Large Festival Hall), where the former archiepiscopal princely stables were located, were drawn up primarily by the architect Clemens Holzmeister; Herbert von Karajan also made many suggestions for the building project, in particular regarding the design of the theatre hall. Every effort was made and no expense spared so as to “insert” between the three-centuries-old façade of the former court stables and the Mönchsberg a theatre with an opera stage whose structure and technical equipment would still meet highest international demands after fifty years. Between autumn 1956 and the early summer of 1960, 55,000 cubic metres of rock were blasted away to create the relevant space. The building was largely financed from the state budget and as a result the Republic of Austria is the owner of the Grosses Festspielhaus.
The Grosses Festspielhaus was opened on 26 July 1960 with a festive ceremony and the performance of Der Rosenkavalier by Richard Strauss conducted by Herbert von Karajan. Even though the new stage was undoubtedly impressive in its dimensions, voices were raised even then expressing regret that it would hardly be suitable for staging operas by Mozart which require a more intimate setting. The ground plan of the auditorium is almost square, nearly 35 metres long and from the stalls as well as from the circle offers ideal acoustic conditions and sight-lines for 2,179 seats. The iron stage curtain weighs 34 tonnes and in the middle is one metre thick. The ground steel plates were created by Rudolf Hoflehner; the main curtain behind it was designed by Leo Wollner.
The décor for the concert hall was renewed in 1993 by Richard Peduzzi. Five bronze doors with handles designed by Toni Schneider-Manzell allow the public access from the Hofstallgasse. The façade is ornamented by a Latin inscription by the Benedictine monk Professor Thomas Michels (Order of St. Benedict):Sacra camenae domus concitis carmine patet quo nos attonitos numen ad auras ferat (The holy house of the muse is open for lovers of the arts, may divine power inspire us and raise us to the heights).
Mostly local materials were used for fitting out the Grosses Festspielhaus: the reinforced concrete columns in the entrance foyer were covered with the conglomerate rock removed from the wall of the Mönchsberg; the floor is made of Adnet marble. Low beam lighting in the sloping ceiling and panel dishes made of glass from Murano create a solid lighting design. Two sculptures created by Wander Bertoni in Carrara marble represent music and drama. The four large-scale paintings in the form of crosses on the theme Dreams with the Wrong Solutions, which were bought by the Austrian patron of the arts and collector Karlheinz Essl and made available on loan to the Salzburg Festival, are by the New York painter and sculptor Robert Longo (1993).
The interval hall adjoining the entrance foyer is largely based on the original ground plan of the archiepiscopal princely stables. The floor of green serpentine is new and contains mosaics of horses by Kurt Fischer. On the wall is a steel relief by Rudolf Hochlehner entitled Homage to Anton von Webern. Through the arch built by Fischer von Erlach one can look out onto the horse statue and fountain and the Schüttkasten which was acquired by the Salzburg Festival in 1987. A separate access on the left of the interval foyer leads via an escalator and steps to the underground car park for the old town centre of Salzburg.
The furnishings for a Patrons’ Lounge on the first floor of the Grosses Festspielhaus were financed by the American patrons of the arts Donald and Jeanne Kahn, who later became major sponsors of the Salzburg Festival. Since 1995 it has served as a reception area for patrons, sponsors as well as their guests and is also used for press conferences and various other functions in connection with the Salzburg Festival.
Specifications Grosses Festspielhaus
Stage width: 100 m Stage depth: 25 m
Proscenium width: 30 m
Proscenium height: 9 m
Five lifting podia, 18 x 3 m each; speed max. 0.25 m / sec.; loading capacity 20 tons each
Hydraulic stage machinery (double attachment of ABB)
Gridiron: 155 hoists with a loading capacity of 500 kg each, a third of them hydraulically driven and electronically controlled
Lighting: 825 adjustable electric circuits with a power of over 5000 watts each; digital light console; depot of around 2,000 individual lights
Electroacoustics: sound control board with 16 inputs, 16 main outputs and 4 auxiliary outputs; sockets for loudspeakers and microphones throughout the entire stage and auditorium.
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