Most recent performance
There are currently no scheduled performances of La traviata. It was last on stage 14 June—4 July 2017 as part of the Winter 2016/17 season.
Alfredo and the courtesan Violetta fall passionately in love. But Alfredo’s father, Giorgio Germont, disapproves of their relationship.
Read more… (Contains spoilers)
‘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, inspired by Alexandre Dumas fils’s play La Dame aux camélias – itself based on the true story of the courtesan Marie Duplessis – is one of the most popular operas, combining drama, profound emotion and wonderful melody.
Richard Eyre’s classic production conveys the indulgent social whirl of 19th-century Paris. It provides a vivid setting for Verdi’s gorgeous score – its many highlights include 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 – and one of his most beloved.
News and features
4 July 2017
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8 December 2016
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4 February 2016
La traviata (Italian: [la traviˈaːta; traˈvjaːta], The Fallen Woman) 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 opera was originally titled 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.