Giuseppe Verdi: La traviata
Staging team
- Musical arrangement: E. Dovico
- Conductor: E. Dovico, F. Drs, H. M. Förster, R. Hein, G. Marciano
- Stage director: A. Bernard
- Set designer: A. Camera
- Costume designer: C. Ricotti
- Choreography: G. Santucci
- Lighting designer: P. Méeüs
- Chorus master: T. Karlovič, A. Melichar
- Assistant director: L. Cukr, O. Kyndlová
Cast
- Violetta Valéry: M. Fajtová, J. Sibera, A. Todorova, M. Vyskvorkina
- Alfredo Germont: P. Berger, A. Briscein, J. Moravec, V. Sibera
- Giorgio Germont: M. Bárta, M. Cavalcanti, V. Chmelo, J. Kettner, S. Sem
- Flora Bervoix: S. Čmugrová, M. Kapustová, A. Miro
- Annina: E. Jarkovská, L. Popova Alabozova
- Gaston: J. Hruška, J. Moravec, J. Ondráček
- Baron Douphol: O. Kříž, R. Vocel, F. Zahradníček
- Marquese d´Obigny: M. Horák, I. Hrachovec, L. Mlejnek
- Doctor Grenvil: M. Bürger, L. Hynek-Krämer, O. Korotkov
Verdi’s La traviata has figured on the repertoire of this opera house ever since its foundation, when the new company co-opted the production of Prague’s German Estates Theatre. It then served chiefly as a vehicle for guest-appearances by illustrious international singers, including among others the legendary Australian soprano, Nellie Melby (April 18, 1900). The first authentic new staging was mounted by the New German Theatre (today’s Prague State Opera) on November 9, 1919, under the baton of Georg Széll, followed by a string of further productions, in 1930, 1934, 1945, 1959, 1979, and most recently, on October 7, 1982, which was directed by Ladislav Štros, with sets designed by Vladimír Nývlt and costumes by Josef Jelínek. That production came to rank alongside the Prague State Opera’s most successful titles, by the end of the 2005/2006 season reaching a total of 487 performances. The PSO’s latest production, dating from 2006, was mounted by an international team headed by the French stage director Arnaud Bernard, with the Italian conductor Enrico Dovico, the Prague State Opera’s permanent guest artist, in charge of music direction. This staging has since ranked alongside the company’s box-office hits, as well as reaping plaudits on the international circuit, including Japan (2007).
In La traviata, to the libretto from the novel by Alexandre Dumas the Younger, La Dame aux camélias, telling the story of Marie Duplessis, a noted courtesan and idol of the 1840s’ Parisian society, Verdi in fact created history’s first major opera dealing with a contemporary social theme. This was only one of the work’s several aspects that proved unpalatable for the audience at its premiere in Venice, in 1853: beyond that, they were similarly shocked by the principal part there being assigned to a courtesan, and that moreover she was portrayed as a heroine. Consequently, the premiere ended by a fiasco. Soon thereafter, nonetheless, Verdi’s La traviata scored its first triumphs, and ever since then has remained a hugely loved repertoire staple.
Premiere: Oct 5, 2006
Response in the press
“A serious attempt at staging La traviata in a way competitive with a major production anywhere in Europe.”
(Helena Havlíková, Lidové noviny, October 11, 2006)
“This production of La traviata has its most auspicious trait in its makers' choice of the black-and-white palette; its advantages over colour are well-known to filmmakers. Here, the virtually void white stage bordered by a rounded horizon, featuring a large divan for the first act and a smaller one for the second, plus the tones of black, white, and grey dominating the costumes, do much more for psychological detail than would enhanced colour patchwork. The Prague State Opera has produced a safe repertoire piece well done, and once the first night tensions are over and everything settles down, the house can start to count successful repeat performances.”
(Vlasta Reiterrerová, Hudební rozhledy, No. 11, 2006)
“The production has a definite asset in its attractive art work...”
(Radmila Hrdinová, Právo, October 17, 2006)
“The story of La Dame aux camélias has been tackled here in a thoroughly realistic way, straightforwardly, intelligibly, and fairly convincingly. Arnaud Bernard opted for what is by-and-large a traditional visual format, without transposing the story into present-day setting, or for that matter, adding any novel connotations. The more sharply was he able, then, to focus on psychology… Notwithstanding his realistic, objective approach to the love story, Bernard did not abandon the realm of operatic stylization, which becomes ever more visible as the opera progresses towards its finale.”
(Petr Veber, Hospodářské noviny, October 13, 2006)
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