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La Traviata
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La Traviata
Melodramma in three acts
music by Giuseppe Verdi
libretto by Francesco Maria Piave
The mise en scène of ‘La Traviata’ by Giuseppe Verdi has strong links with Venice: it was first performed at the Gran Teatro La Fenice on March 6th 1853.
Musica a Palazzo adheres to the ‘indications for contemporaneity’ requested by Verdi for the first performance (which caused a scandal due to its brazen realism).
The first act begins in the Portego (central hall) and the spectators will realise with amazement that they are actually playing the role of the Violetta’s guests (Traviata): she drinks a toast with them and among these she will meet Alfredo.
The second act is staged in the Sala Tiepolo, the beauty and privacy are the perfect setting in which to appreciate the subtlety of the character’s ‘inner speech’ and to be moved by her vicissitudes.
The drama of Violetta’s illness and death takes place in the bedroom with an alcove where not even the extraordinary beauty of the 18th-century stuccoes are able to distract the spectator from the emotional intensity of the song: the voices of the performers that are so intimately close, will tug at your heart strings.
“This Opera of love and loss is totally stunning, fully engaging and sometimes raises the hairs on the back of your neck.“ THE ARGUS
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
WHEN
Every Monday, Tuesday, Thursday and Saturday
DURATION
Approximately 2 hours, including the intermission. The Palace opens to the public at 8 pm, the performance starts at 8.30 pm.
INTERVAL
During the intermission, guests are invited to taste the Prosecco offered to them in the room overlooking the Grand Canal.
PERFORMANCE LANGUAGE
Italian, no subtitles
Photo gallery
Palazzo Barbarigo Minotto
Musica a Palazzo offers a new way of experiencing the grand Opera
The Opera is a travelling show and each act is set in a different hall of one of the most fascinating Venetian palaces: Palazzo Barbarigo Minotto.
THE ASSOCIATION DIMENSIONE LIRICA
Dimensione Lirica is a cultural association founded in 2009, and since 2020 assumed Musica a Palazzo format in order to make Palazzo Barbarigo Minotto a place where to meet, experiment and to gather in order to spread and broaden the knowledge of Opera culture.
This is how the Musica a Palazzo ensemble conceives the ‘Chamber Opera’: the traditional setting of Opera in the theatre is replaced by a stage that fits in perfectly with the scenery: every act of the opera takes place in a different hall of the palace, the magnificent baroque furnishings of which are a natural complement to the set design.
The originality of the direction is represented by the interaction between the singers, the instrumentalists and the audience, breaking down any kind of barrier between them, giving the viewer the thrill of experiencing the Opera from within.
This feeling is enhanced by the skilful use of all-round stage space.
Following a tour throughout the United States, Musica a Palazzo, has staged La Traviata for the 41th international Brighton Festival (UK) held at the Royal Pavilion, where it has proved to be a huge success with both the audience and the critics, by winning the Press Award (The Argus Angel Award) as the best production of the Festival. Recently it has also staged The Barber of Seville at the Potsdam Music Festival in Germany.
Location
Palazzo Barbarigo Minotto
Overlooking the Grand Canal, historical evidence proves that the construction of this noble Venetian palace dates back to around the 15th century.
It consists of three halls facing the Grand Canal and just as many on the Rio Zaguri; during the first half of the 18th century, this palace was embellished by the work of artists whose fame and talent are still acknowledged today.
The painters Giambattista Tiepolo, Francesco Fontebasso, Jerome Mingozzi and the stucco worker Carpoforo Mazzetti, also known as Tencalla were commissioned by nobleman Pietro Barbarigo, the works of whom are perfectly preserved and are still appreciated by scholars and art lovers.
The palace houses a 17th century aristocratic family chapel, with Louis XIV style elm flooring, inlaid with olive and other fine wood. The doors are also in the Louis XIV style with walnut wood panels and decorated with vine leaf-shaped bronze handles, while the flooring is a blend of terrazzo, Venetian “pastellone” pavings.
For further information on the history of Palazzo Barbarigo Minotto, please visit the page on Wikipedia Musica_a_Palazzo
Articles of association
In order to attend any activity of the association, including evening performances, it is necessary to be officially registered as a member. After filling out the application form, the new member will be given a membership card.
Following this link, you can read or download the articles of association which regulate Musica a Palazzo activities.
Donations
The association does not receive any public funding or sponsorship. Every year, Dimensione Lirica dedicates itself to the restoration and maintenance of the main floor in Palazzo Barbarigo Minotto, the costs of which are very high in a city like Venice.
Therefore, we will be extremely grateful to those who wish to make contributions to support the association.
More about the venue/theater:
The Palazzo Barbarigo Minotto (also called Palazzo Minotto Barbarigo) is a 15th-century palace on the Grand Canal in Venice, northern Italy, next to the much larger Palazzo Corner.[1] Built in the Venetian Gothic style, it was originally two palaces, Palazzo Barbarigo and Palazzo Minotto, later joined together. The Barbarigo palace was owned by the Barbarigo family for several centuries and was the birthplace of Gregorio Barbarigo, who once refused the Papal Crown.[2] It was later owned by the Minotto and Martinengo families.
The facade of Palazzo Barbarigo-Minotto on the Grand Canal of Venice.
Three staterooms face the Grand Canal and another three face Rio Zaguri. In the first half of the 18th century frescoes and paintings by Giovanni Battista Tiepolo, Francesco Fontebasso and Carpoforo Tencalla were commissioned by Pietro Barbarigo. Its chapel has Louis XIV Style elm flooring inlaid with olive-root marquetry. The palace's doors, are in the same style, banded in walnut with bronze handles shaped as vine leaves. The floors of the staterooms are a blend of terrazzo paving and Venetian "pastellone" paving.
The palace is actually formed by two different buildings, merged in the 17th century. The ancient part, a 1400s Venetian-Gothic architecture featuring 12th century Byzantine friezes, was originally known as Palazzo Minotto; the newer part, Palazzo Barbarigo, was built in the 17th century.
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