LA TRAVIATA - Madison Opera

LA TRAVIATA
Student Matinee Guide
2010-2011 Season
MUSIC BY GIUSEPPE VERDI
TEXT BY FRANCESCO MARIA PIAVE
PREMIERED IN VENICE, ITALY ON MARCH 6, 1853
BASED ON THE NOVEL LA DAME AUX CAMEILAS
BY ALEXANDRE DUMAS
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TABLE OF CONTENTS
I. What to Expect at the Opera 3
II. Cast and Characters 4
III. Story of the Opera 5
IV. What to Listen For 7
V. Biography of Verdi 9
VI. Historical Context 11
VII. Production Personnel 13
VIII. Traviata WordFind! 15
IX. POPera Connections 16
X. Online Resources 17
XI. Post-Opera Activity 18
XII. Glossary of Operatic Terms 19
All material herein compiled and edited by Brian Hinrichs for Madison Opera.
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I. WHAT TO EXPECT AT THE OPERA
Welcome, from all of us at Madison Opera! We are thrilled you
have decided to attend the Student Matinee.
Opera combines elements of music, drama, visual art, and
movement to tell a story on stage. The history of opera goes
back to the Renaissance in Italy, and to this day it is
considered the grandest of the performing arts.
At the Student Matinee performance of Verdi‘s classic La Traviata (pronounced TRAH-VEE-AH-
TA), you will see a full length, fully staged production during the opera‘s final dress rehearsal.
Verdi is known for developing the Italian style of grand opera, which is characterized by large
casts, stunning sets, beautiful costumes and high drama, all of which you will see on stage at
Madison Opera. Our production will feature professional opera singers from around the world,
including the U.S. debut of the Italian tenor Giuseppe Varano, in addition to the Madison Opera
Chorus and the Madison Symphony Orchestra. Before the performance, the cast will have been
in rehearsal for a three week period in Madison, working closely with the stage director.
Madison Opera‘s staging of La Traviata will be traditional, placing the action in the mid-19 th
century in Paris. Our sets and costumes are grand and luxurious, giving the impression of
flowing, rich fabrics and elegant visuals, all evocative of the time period. During intermission,
we‘ll leave the curtain up so your students can get a sense of our backstage operation.
Because La Traviata is sung in Italian, we will project translations of the text above the stage so
you can understand every word. However, it is always helpful (and rewarding!) to study the
opera ahead of time, so we hope you‘ll enjoy this guide to the fullest.
Please review the following opera etiquette with your students:
• Sit quietly in your seat, keeping shuffling and shifting to a minimum.
• No talking during the performance, as it disturbs other audience members, the performers
onstage, and it will cause one to miss important parts of the action. Intermission is the perfect
time to discuss what you‘re seeing.
• No food or drink is allowed in the theater.
• Turn off all electronic devices. Take photos in the lobby, and save your texts for later!
• Applaud to welcome the conductor when you see him enter the orchestra pit.
• Show appreciation by applauding at the conclusion of a song (the orchestra will pause) and
at the end of an act.
• When the opera is over, you my also call out “Bravo!” to thank the performers for a job
well done.
• Find different things onstage or in the orchestra to focus on. Students will want to follow
the action onstage and the progress of the story, but you may also suggest that they watch the
orchestra and the conductor, or make a point to observe lighting, scenery, and costumes.
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II. CAST OF CHARACTERS
Supporting roles:
Violetta Valery: a courtesan in Paris, famous for being a carefree party girl
>Performer: ELIZABETH CABALLERO, a Cuban-American soprano based in
Miami and a rising opera star with credits at the Metropolitan Opera
Alfredo Germont: a nobleman from the country, in love with Violetta
>Performer: GIUSEPPE VARANO, an Italian tenor who has performed across
Europe, making his U.S. debut in Madison
Giorgio Germont: Alfredo‘s father, who disapproves of Violetta
>Performer: DONNIE RAY ALBERT, a leading international baritone hailed for
his “powerful voice” by the San Francisco Chronicle
Flora: Violetta‘s friend and accomplice in Paris
Annina: Violetta‘s maid
Gastone: Alfredo‘s friend, a count
Baron Douphol: an older man, Violetta‘s escort and current fling
Grenvil: Violetta‘s doctor
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III. STORY OF THE OPERA
PLACE:
Paris and the surrounding area, around 1850
SUMMARY:
Violetta Valery is the toast of the town. Known as the go-to party girl in Paris, she has a
reputation as an independent spirit, despite keeping the company of the wealthy Baron
Douphol. But everything changes when Alfredo enters the picture. A quiet nobleman from the
countryside, he has admired Violetta from afar and finally confesses his love. After resisting at
first, Violetta soon gives in and abandons the life of freedom she thought she wanted. However,
complications arise during the couple‘s carefree escape to the countryside when Alfredo‘s father
expresses his disapproval of the relationship. What ensues is a heartbreaking tale of love
broken and life unfulfilled, all set to some of Verdi‘s most memorable music.
SYNOPSIS:
ACT I. The courtesan Violetta Valéry has been out
most of the night running from party to party with a
group of friends, who are now continuing the
festivities in her Paris apartment. Flora, the Marquis,
Gastone, and Violetta‘s ―boyfriend‖ the Baron
Douphol are among the revelers, as is a new admirer
of Violetta‘s, Alfredo Germont. Having long adored
her from afar, Alfredo now flirts with Violetta in a
rousing drinking song. As the guests move to
another room of the house to hear an orchestra play,
Violetta suffers a fainting spell. Quickly regaining her composure, she assures her friends that
all she needs are a few minutes alone. Concerned, Alfredo returns and confesses his love.
Violetta makes light of his declaration – she seeks pleasure, not love. But he persists, and she
agrees to meet him the next day. After the guests depart, Violetta thinks more about her new
suitor, wondering if Alfredo could be the man to change her life. But she quickly opts instead for
continued freedom, as Alfredo‘s voice, heard outside, sings of the pleasures of romance.
ACT II. Scene 1. For three months Alfredo and Violetta have been
living blissfully in a country house near Paris. Alfredo reflects on their
contentment (―De‘ miei bollenti spiriti‖). When their servant Annina
reveals that Violetta has sold her possessions to keep the house,
Alfredo hurries off to the city to settle matters at his own cost. Violetta
enters and receives an invitation from Flora to a party that evening.
She is soon surprised by the arrival of Alfredo‘s father, Giorgio
Germont, who demands that Violetta break off her affair with his son;
the scandal of their relationship has threatened Germont‘s daughter‘s
engagement (―Pura siccome un angelo‖). Violetta says that she
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cannot, but she eventually gives in (―Dite alla giovine‖). Alone, the desolate woman sends a
message of acceptance to Flora and starts writing a farewell note to Alfredo. He enters
suddenly, and she can barely control herself as she reminds him of how deeply she loves him
(―Amami, Alfredo‖) before rushing out. A servant brings Violetta‘s note to Alfredo as Germont
returns to console his son and remind him of his loving family back home in Provence (―Di
Provenza‖). But Alfredo, catching sight of Flora‘s invitation, suspects Violetta has left him for
another lover. Furious, he resolves to confront her at the party.
Scene 2. At her ―Spanish soirée‖ that evening, Flora
learns from the Marquis that Violetta and Alfredo
have separated, then clears the floor for hired
entertainers—a band of fortune-telling gypsies and
matadors (―E Piquillo un bel gagliardo‖). Before long,
Alfredo strides in, making bitter comments about love
and gambling recklessly at cards. Violetta arrives with
Baron Douphol, who challenges Alfredo to a game
and loses a small fortune to him. The crowd moves to
another room for supper. Violetta has asked to speak with Alfredo privately. Fearful of the
baron‘s anger, she wants Alfredo to leave, but he misunderstands her apprehension and
demands that she admit she loves Douphol. Hurt by the accusation, she says that she does.
Alfredo calls in the others, denounces his former love, and cruelly hurls his winnings at her feet
(―Questa donna conoscete?‘‘). Violetta is distraught. Germont arrives in time to witness his son‘s
rash act and denounces his behavior. The guests rebuke Alfredo, and Douphol challenges him
to a duel.
ACT III. In Violetta‘s bedroom six months later, Dr. Grenvil
tells Annina that her mistress does not have long to live:
she will soon die of tuberculosis. Alone, Violetta re-reads
a letter from Germont saying the Baron was only
wounded in his duel with Alfredo, who knows everything
and is on his way to beg her pardon. But Violetta senses
it is too late (―Addio, del passato‖). In a feverish daze, she
hears street revelers celebrating Mardi Gras and believes
them to be her old friends. As she rushes downstairs to
join them, Annina stops her, announcing that Alfredo has arrived. Ecstatically, the lovers plan to
leave Paris forever (―Parigi, o cara‖). Germont enters with the doctor, but Violetta says she feels
her strength miraculously returning. But this surge of vitality lasts just a moment; she suddenly
staggers and falls dead at her lover‘s feet.
Courtesy of Opera News
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IV. WHAT TO LISTEN FOR
Verdi crafted his music to make the listener aware of certain elements of the plot. See if you can
detect the following techniques as you watch and listen to La Traviata:
> Reoccurring musical themes
The first notes of the prelude, played before the curtain rises, establish the theme of Violetta‘s
suffering from her illness, tuberculosis. This same theme is heard in the final act as Violetta
nears death. In this same prelude a theme is introduced that portrays Violetta‘s love. This love
theme is repeated in Act II when Violetta bids Alfredo goodbye.
> Contrasting melodic lines played simultaneously
Verdi illustrates the two very opposing life styles of La Traviata: The desperate, suffering and
sad love story of Violetta, and the merry life of a Parisian courtesan. At the beginning of the
opera super imposed over Violetta‘s love theme is a bright and witty melodic line that makes us
think of parties and festivities- of people enjoying the good life. In the final act, as we hear the
sad theme associated with Violetta‘s illness, counter-balanced is the music and singing heard in
the streets outside of Violetta‘s apartment.
> Familiar music
So much of Verdi‘s music is used in popular commercials and as background music because
you can easily sing or hum his thematic lines. Have you ever heard the music of the drinking
song, ―Libiamo?‖ Can you hum the melody?
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This theme, and other Verdi has written, are so engaging that they have become recognizable
by many people who are not all that familiar with the entire opera. The party scene in Act II with
the gypsies and matadors is memorable for the bright and exuberant singing and the dancing in
colorful costumes by the entire opera chorus. One of the most popular arias of La Traviata is
known as ―Sempre Libera (Forever Free).‖ This aria is a musical form known as a ―cabaletta.‖ It
is sprightly, fast, short in length and catches our attention. It makes us immediately aware of
Violetta‘s interest in returning to her former merry life.
> Theatrical devices
When Violetta reads the farewell letter she has written to Alfredo, she ―speaks‖ the words. There
is a musical background, but it serves to echo her feelings, rather than to accompany her voice.
The technique employed here is called ―melodrama,‖ that is, a dramatic reading with a melodic
background.
> A superstar soprano
In Act I when Violetta first discovers her love for Alfredo, Verdi writes a bold coloratura solo
(coloratura sopranos have very strong voices, sing in the highest vocal range and specialize in
florid runs and trills). At one point, the orchestra drops out and Violetta sings a ―cadenza‖ (a
section of an aria that shows off the singer‘s virtuosity) by herself. Verdi wrote difficult parts for
soprano singers. In La Traviata the coloratura singer is expected to push the limits of her vocal
range, sing powerfully and, in addition, be an excellent actor to portray the difficult role of
Violetta. The singing role is so difficult in the first act that Verdi gives the singer a little rest at the
beginning of the second act while Giorgio Germont sings. In the rest of the opera, the soprano is
required to sing dramatically. Coloratura sopranos are not usually required to be dramatic
sopranos in the same opera, so the role of Violetta requires a virtual superstar to sing the part.
Courtesy of Washington Opera
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V. GIUSEPPE VERDI (1813 – 1901)
Born in 1813 in the Italian village of Le Roncole near Busseto,
Giuseppe Verdi spent his early years studying the organ. By the
age of seven, he had become an organist at the church of San
Michele Arcangelo. It was there that the young Verdi was an altar
boy and, according to myth, his mother saved him from the
French in 1814. In 1823, Verdi moved to Busseto where he
attended music school and by the age of 13 was an assistant
conductor of the Busseto orchestra. After finishing school, Verdi
applied for admission to the Milan Conservatory. He was rejected
for admission, although one of the examiners suggested that he
"forget about the Conservatory and choose a maestro in the city"
to study with. Verdi studied composition in Milan with Vincenzo
Lavigna, a composer and the conductor at the famous opera
theater La Scala. Verdi bounced back and forth between Milan and Busseto until he was named
conductor of the Busseto Philharmonic in March 1836.
By May 1836, Verdi married childhood sweetheart, Margherita Barezzi, who also happened to
be the daughter of his greatest supporter. He returned to Milan several years later, this time with
a young family. Verdi's first opera, Oberto, was brought to the stage at La Scala in November
1839 and ran for multiple performances. The noted Ricordi firm published Oberto and, based
upon his initial operatic effort, Verdi won a contract for three additional operas. He began work
on his next opera, Un Giorno di Regno, but was interrupted when, one by one, his family fell ill.
A little over the course of a year, Verdi lost his son, his daughter, and his beloved wife to illness.
Unfortunately, Un Giorno was a complete failure.
Verdi vowed never to compose another comedy and began to believe that everyone had a
predetermined destiny, even if that meant death at a young age. Throughout this troubled
period, the director at La Scala still believed in Verdi, and it was Verdi himself who later
declared that with his next work, Nabucco, "my musical career really began." At dress
rehearsals for Nabucco in the La Scala theater, carpenters making repairs to the house
gradually stopped hammering and, seating themselves on scaffolding and ladders, listened with
rapt attention to what the composer considered a lackluster chorus. At the close of the number
(the famous Chorus of the Hebrew Slaves) the workers pounded the woodwork with cries of
"Bravo, bravo, viva il maestro!" The opening of Nabucco was a triumph. Verdi was famous,
commanding a higher fee than any other composer of his time.
I Lombardi followed Nabucco and won an unprecedented victory over Austrian censors. Verdi's
triumph in retaining the libretto and melodic themes the censors had hoped to ban as "religious"
in nature forged the composer's lifelong reputation as an ideological hero of the Italian people.
This would be the first of his many battles with censors for artistic freedom.
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Over the next seven years, the composer penned ten additional operas of varied success,
gradually making the transition between two distinct eras of Verdi composition. Initially captive
of the "bel canto" style of Donizetti which focused almost solely on vocal purity and elegance,
Verdi continually experimented to produce his own operatic genre in which drama was driven by
melody and characters had an identifiable musical essence.
In explaining his work Il Trovatore, Verdi said: "I think (if I'm not mistaken) that I have done well;
but at any rate I have done it in the way that I felt it." In saying so, he defined his own creative
hallmark. Although a musical genius, Verdi composed spontaneously from the heart. A brilliantly
schooled musician, he placed emotional sensibility above intellect in all that he wrote. In the
process, he created the remarkable marriage of dramatic characterization and vocal power, an
indelible artistic signature.
The creation of an operatic tour de force based upon his ingenious
artistic formulation assured Verdi's immortality, beginning in 1851
with Rigoletto, followed soon after by Il Trovatore, La Traviata, and
ultimately in 1871, by Aida. Even without the masterpieces that
followed - Simon Boccanegra, Un Ballo in Maschera, La Forza del
Destino, and Don Carlos or his great Requiem Mass - the Maestro
could have afforded to rest on his musical achievements and stand
unchallenged as the premier operatic composer of any age. In fact,
with the success of Aida, Verdi seemed to have abandoned
composing altogether, producing no new works for fifteen years.
Fortunately an electrifying libretto for Otello, created by poet Arrigo
Boito, brought the composer out of his self-imposed retirement.
The opening of Otello in February of 1887 attracted an
international audience to Milan for a dramatic event which ended
only after the citizenry had showered Verdi with gifts and applause
throughout twenty curtain calls and towed his carriage to the hotel.
Public festivities continued until dawn.
In 1893, with the premiere of Falstaff, Verdi and his adoring audience repeated the entire
sequence of events at La Scala - all in honor of a comedy he had vowed as a young man never
to write. The maestro finally retreated to his country home in Sant' Agata with his second wife,
singer Giuseppina Strepponi. They spent several peaceful years in retirement until her death in
1897. His wife's death left Verdi in a state of unbearable grief. He immediately fled Sant' Agata
for the Grand Hotel in Milan and, after four unhappy years, Verdi died in 1901, the victim of a
massive stroke. Verdi's death left all Italy in mourning. He still is revered throughout the music
world as the greatest of operatic composers and, more particularly, in Italy as a patriotic hero
and champion of human rights.
Courtesy of Arizona Opera.
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VII. HISTORICAL CONTEXT
Verdi‘s life covered a period of great musical and political upheaval. When he was born, the
classical period of Mozart and Haydn had already begun to pass, and the highly ornate bel
canto operas of Bellini and Donizetti were enormously popular. Soon, the dramatically nuanced
and musically full bodied Romantic style began to take over, varying greatly between France,
Italy, and Germany, where Wagner‘s ―music dramas‖ were considered revolutionary. Politically,
the 19 th century saw the unification of Italy in 1861 after a period of revolution that Verdi‘s opera
Nabucco is said to have partly inspired. The following dates mark significant events in Verdi‘s
life, in Italy, and around the world, from 1813 to 1901.
1813: Giuseppe Verdi is born in Busseto, Italy, then part of the First French Empire, under the
rule of Napoleon
1814: Napoleon is defeated and is exiled to St. Elba
1815: Napoleon escapes, but is defeated again at the Battle of Waterloo; Congress of Vienna
restores Austrian rule to the Kingdom of Italy
1823: The Monroe Doctrine declares that European powers must not colonize or interfere with
independent nations in the Americas
1827: Beethoven dies
1831: Premiere of Norma, Bellini‘s most influential opera
1836: Verdi marries first wife, his childhood sweetheart
1838: Photography invented; Charles Dickens writes Oliver Twist
1839: Verdi‘s first opera, Oberto, premieres at La Scala in Milan
1842: Premiere of Verdi‘s Nabucco, in which the plight of the oppressed Jews was instantly
compared to the plight of the Northern Italians under the Austrian Empire
1843: Wagner‘s The Flying Dutchman premieres in Dresden
1848: Revolution of 1848 in France results in the establishment of the Second French Republic,
spreads revolutionary movements throughout Europe, including Italy; death of bel canto opera
composer Gaetano Donizetti
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1853: Premiere of Verdi‘s La Traviata at La
Fenice in Venice
1858: Birth of composer Giacomo Puccini
1859: War in Italy gradually removes
Austrian rulers from northern states; Charles
Darwin publishes On the Origin of Species
1861: First Italian parliament is called, at
peak of unification process, and Rome is
declared the capitol of Italy; American Civil
War– begins
1866: Austria cedes rule of Venice to Italy
1870: Rome is seized from the Pope by the
Italian army, effectively ending the battle for
Italian unification
1871: Triumphant premiere of Verdi‘s Aida; end of the Franco-Prussian war
1876: First complete performances of Wagner‘s Ring Cycle at Bayreuth
1887: Premiere of Verdi‘s Otello, finally shows the influence of Wagner‘s style on the
consummate Italian Verdi
1896: Premiere of Puccini‘s La boheme represents changing of the guard in Italian opera; new
style is more realistic, with through-composed music
1901: Verdi dies in Milan
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VII. PRODUCTION PERSONNEL
Onstage....
Backstage...
COSTUME DESIGNER:
creates clothes singers will
wear on stage
LIGHTING DESIGNER:
manipulates lights to create
effects and set mood on stage
THEATER TECHNICIANS:
operate lighting board and
handle various electrical,
audio, and effects jobs
MAKEUP ARTIST:
applies makeup and ensures
artists look their part
STAGE DIRECTOR:
responsible for action
on stage
STAGE MANAGER:
responsible for lighting and
sound cues, entrances and
exits of performers; makes
sure the show keeps pace
MUSIC DIRECTOR:
coaches singers and conducts
orchestra and chorus
SET DESIGNER:
designs scenery for the
opera
COSTUME SUPERVISOR:
edits and mends costumes, fits
artists, assited by dressers
STAGE CREW:
moves sets and props
around stage
PROPS MANAGER:
makes sure props are
placed accurately
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STAGE DIRECTOR – GARNETT BRUCE
Mr. Bruce began his musical training as a choirboy at the Washington
National Cathedral and later earned his Bachelor of Arts in English and
Drama from Tufts University. Internships followed with Harold Prince for his
1990 production of Faust at the Metropolitan Opera, and with Leonard
Bernstein for his legendary performances and final recording of Candide.
These early experiences led to his work on the directing staffs of the San
Francisco, Houston Grand, Santa Fe, Dallas, Washington National, and San
Diego Operas - working under celebrated directors such as Francesca
Zambello, Bruce Beresford, John Copley, Lotfi Mansouri, John Cox, Stephen Lawless and
Nathaniel Merrill. Today, Garnett is based in Baltimore, Maryland and directs across the United
States. He most recently has staged Don Giovanni at Opera Omaha, La Traviata at Austin Lyric
Opera, and Tosca at the Lyric Opera of Chicago, earning wide critical acclaim.
CONDUCTOR / MUSIC DIRECTOR – JOHN DEMAIN
Maestro John DeMain is known in Madison for his roles as Artistic Director of
Madison Opera and Music Director of the Madison Symphony Orchestra. He
is also known internationally as the Tony and Grammy Award winning
conductor of Gershwin‘s Porgy and Bess at the Houston Grand Opera and in
New York. As the Music Director of Houston Grand Opera for 18 years, he
led significant world premieres of works by John Adams, Leonard Bernstein,
and Philip Glass. A native of Youngstown, Ohio, John DeMain began his
career as a pianist and earned a Bachelor and Master's Degree in Music at
the Juilliard School in New York City. In addition to his current duties in Madison, he has
recently conducted at the Lyric Opera of Chicago, Vancouver Opera, and San Francisco Opera.
SET & COSTUME DESIGNER – DESMOND HEELEY
The English designer Desmond Heeley has led a long and legendary
career, beginning as an apprentice at the Shakespeare Memorial
Theatre in Stratford-upon-Avon. His practical skills in costuming and
painting was noticed by the director Peter Brook, who gave Heeley his
first commission and later let him design sets for a famous production
starting Sir Laurence Olivier. In 1968, he won 2 Tony Awards for his
sets and costumes in Rosencrantz and Guilderstein are Dead on
Broadway. Heeley is currently back on Broadway, with sets and
costumes for the acclaimed revival of The Importance of Being Earnest.
The designer created the sets and costumes for this production of La
Traviata in 1993, and they offer all of his trademark touches. What appear to be rich and flowing
draperies are in fact impressionistic paintings by Heeley himself. A child of the Depression, he
has said his earliest influences were making arts and crafts with found objects. In La Traviata,
he demonstrates his continued passion for found and recycled objects with a little known secret:
the stunning chandeliers are in fact made of Dairy Queen spoons!
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VIII. TRAVIATA WordFind!
Characters:
F N V D Q N L G Z S Q V S I A D
L A E U O Y I A K Z E O C S L C
O A R E R F V S S S R T O I F A
R R D T D S N T Q P U N L D R S
A E I W O E E O A B T A O N E D
R P U L E W R N S D R C R I D D
X O B Q M X G E V F E L A R O O
C A B A L E T T A K V E T B Q U
M K N E P C Z U A Y O B U S J P
E G J L P J S W T N P Y R O J H
V A N N I N A T T O A D A M B O
A Z O R T O V I E Z L F U K K L
I L C S M H P L L H L Z T M W N
P F E C Y V G I O R G I O N A F
D W R K P H G K I A R I A G R S
X J D S P B P D V L V Y Q B J Y
Violetta, Alfredo, Giorgio, Flora, Annina, Gastone, Douphol, Grenvil
Creators:
Verdi, Piave, Dumas
Terms:
opera, overture, aria, duet, cabaletta, brindisi, bel canto, coloratura
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IX. POPera CONNECTIONS
Movies influenced by LA TRAVIATA
>Pretty Woman (1990) – Director Garry Marshall has a soft spot for opera. In
fact, he‘s directed operas for the stage before, and in Pretty Woman, he makes
perfect use of La Traviata. The story of the movie parallel‘s that of La Traviata,
with Julia Roberts as the Violetta character. In one famous scene, her ―Alfredo‖
Richard Gere takes her to a performance of La Traviata at the San Francisco
Opera, and it moves her to tears. Click to watch the scene online.
>Moulin Rouge (2001) – In this epic Baz Luhrmann film starring Nicole
Kidman and Ewan McGregor, La Traviata receives the full Hollywood
treatment. Christian (McGregor) is a wannabe poet who defies his father to join
the nightlife of Paris in 1899, where he falls for the glamorous dancer and
party girl Satine (Kidman). Problem is, Satine is supposed to be an escort for
an older, wealthier man, and she‘s secretly dealing with a fatal illness. Sound
familiar? It‘s Verdi all over again!
Commercials that use Verdi’s music from LA TRAVIATA
La Traviata contains some of the most popular music ever written to this day. Here are just a
few advertisements that make use of it:
>Huggies (uses ―Libiamo‖ from Act 1, Scene 1): Click to watch online.
> Skittles (also uses ―Libiamo‖, and a singing rabbit): Click to watch online.
> Heineken (uses ―Sempre Libera‖ from Act 1, Scene 1): Click to watch online.
> Nissan (also uses ―Sempre Libera‖): Click to watch online.
> EA Games (uses the ―Gypsy Chorus‖ from Act 2, Scene 2): Click to watch online.
*A 2011 commerical by Bertolli also makes use of ―Libiamo‖!
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X. ONLINE RESOURCES
A Brief History of Opera:
http://www.operaamerica.org/content/education/learningCenter/intro.aspx
Score for La Traviata:
> http://www.dlib.indiana.edu/variations/scores/bhr7293/index.html
English translation of La Traviata:
> http://www.dennisalbert.com/Opera/latraviata.htm
Biography and Discography of Giuseppe Verdi:
> http://www.musicweb-international.com/classrev/2006/July06/Verdi_conspectus1.htm
La Traviata samples:
> Act I - ―Libiamo‖ - http://youtu.be/NcKdnkGBSgA
> Act I - ―Sempre Libera‖ - http://youtu.be/I-AcsT9LRII
> Act II.i - ―Lunga da Lei‖ - http://youtu.be/EWMTDFQad4k
> Act II.i - ―Di Provenza il mar‖ - http://youtu.be/0saYfRBGBXY
> Act II.ii - ―Gypsy and Matador Chorus‖- http://youtu.be/Tc-PjPf-uIE
> Act III - ―Ah, Violetta (Finale)‖ - http://youtu.be/mg4204jQZqI
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XI. POST-OPERA ACTIVITY
What is beautiful or artful? Everyone has a different opinion, and there are many diverse ways
to judge a work of art. The first performances of La Traviata were panned by critics, and yet
today it is considered a masterpiece. After attending the Student Matinee, encourage your
students to explore their feelings and opinions. The purpose of this activity is to get students to
consider aesthetic judgments. Here are some topics for consideration:
Topics to consider during the performance
Execution – The quality of the musical performance by singers and orchestra;
implementation of set and lighting changes by stage crew
Interpretation – How the director translates the story to the stage
Design – Sets and lighting choices to convey people and places
Realism – How relatable and real the action feels
Thematic – The ideas and message conveyed by the opera
Expressionism – The emotional impact of the music and the acting
Formalism – The structure and story arch of the opera; the balance of drama and music
How to structure a review
Students should include the name of the work being reviewed; where and when the
reviewer attended the performance; names of the main performers, the director, the
designers, and the conductor
A description of what was seen.
A judgment of what was seen. Was the performance good or bad and why.
What are some things that can go wrong in the performance of an opera? Did they go
wrong?
Does the acting convey the expressive content of the words and music?
Do the singers have voices that are pleasing to you? Explain for each of the main
singers.
Was the balance between the singers and orchestra appropriate? Remember that there
may be a hundred performers in the orchestra, and they could easily drown out the
singers.
Describe the settings of the various scenes. Did they bring the story to life in the way the
composer intended?
Was the lighting appropriate?
Would you recommend this production to others?
Madison Opera would love to hear from your students. Please send any student reviews
to: studentreviews@madisonopera.org
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XII. OPERA GLOSSARY
aria: From the Italian work for "air." A song for a solo voice with instrumental accompaniment.
adagio: A smooth, slow tempo.
andante: A relaxed, walking tempo.
apron: The front part of the stage between the orchestra pit and the curtain.
ballad opera: Combines spoken dialogue with well-known vocal tunes and dances. Popular in England in
early 18th century.
baritone: The middle male voice, close to a French horn in range and tone color. In comic opera, the
baritone is often the ringleader of the highjinks, but in tragic opera, he is usually the villain. The range is
from G an octave and a half below middle C to G above.
baroque: Baroque operas, popular from the early-1600s to the mid-1700s, are characterized by elaborate
vocals and emotional, highly stylized and fanciful plots.
bass baritone: A rare male voice, with a large range and a color between baritone and bass.
bass: The lowest male voice, it is similar to a trombone or bassoon in range and color. Low voices
usually suggest age and wisdom in a serious opera (basso profundo). In comedic opera, they are
generally used for old characters who are foolish or laughable (basso buffo). The range
basso buffo: A category of bass voice; a singer who specializes in comic characters.
basso profundo: The most serious of the bass voices.
bel canto: Meaning "beautiful singing," a fluid and lyrical vocal style popular in the mid-17th to mid-19th
centuries. The singing takes precedence over the words or plot.
bravo: Bravo! is the Italian word for expressing appreciation to a male performer.
brava: Brava! is the Italian word for expressing appreciation to a female performer
brindisi: a drinking song, usually sung by chorus and a staple of 19 th century operas
cabaletta: a type of aria that is sprightly, fast, short in length and catches our attention, mastered by
Verdi
cadenza: A series of difficult, fast, high notes, sung at the end of an aria. Often improvised, singers use
them to demonstrate their vocal abilities.
camerata: A gathering of writers and musicians who met regularly, in the late 16th century, to discuss
and experiment with art.
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cantata: Generally for chorus and soloists, a musical form based primarily on narrative text.
casting: Casting is done principally according to voice type. Voice types are basically predetermined by a
person‘s physical makeup. Singers can develop and stretch the instrument (the voice) with practice, and
there is a certain amount of change in every voice as a person ages. However, we are each born with the
voice mechanisms that we keep for the rest of our lives.
castrato: A castrated male with a much-prized high singing voice.
choreographer: The person who designs the movement of a dance
chorus: members of the opera chorus. Choruses are used in most operas to provide vocal
accompaniment to the principal singers, or they may have their own numbers. Many of them play parts
such as townspeople, soldiers, etc.
coda: The final idea presented in a musical composition.
coloratura: A very high-pitched soprano with great vocal agility and high range, able to sing complicated
vocal ornamentation (applicable to all vocal ranges). Lucia is sung by a coloratura soprano
commedia dell'arte: Popular in Italy, plots revolve around disguises, mistaken identities, and
misunderstanding..
contralto: The lowest female voice, sometimes called alto. A true contralto is a very rare voice type,
similar in range to a clarinet. It is usually reserved for an older female or special character parts such as
witches and old gypsies. Its range is two octaves from F below middle C.
counter tenor: The highest male voice, which was mainly used in oratorio and very early (baroque)
opera.
curtain call: Bows at the end of a performance
designer: The person who creates the lighting, costumes or sets.
deus ex machina: A staging or literary device referring to salvation from a tricky situation by a god or
goddess.
diaphragm: The muscle and connective tissue that separates the chest and abdominal cavity. A singer
learns to make the diaphragm stretch to let the lungs fill completely with air. Then, tightens the diaphragm
to push out the air at the desired volume and speed.
director: The person who instructs the singer-actors in their movements on-stage and in the
interpretation of their roles.
diva: A female opera star. Translated into "goddess"; may imply a demanding or high-strung star.
dramatic: Description used for the heaviest voice type, capable of sustained declamation and a great
deal of power, even over the largest operatic orchestra of about 80 instruments.
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ensemble: Two or more people singing at the same time, or the music written for such a group.
falsetto: The upper part of a voice in which the vocal cords do not vibrate fully, more often used in
reference to male voices. Falsetto is frequently used by male characters when they are imitating females,
but it should not be used only for comic effects. Some tenors have been able to integrate the falsetto into
the rest of their voice, which makes for beautiful soft singing.
finale: Usually involving a large number of cast members, the last song of an act.
grand opera: Opera in the grand manner, signified by grandeur and size in cast, orchestra and sets. May
be epic in scale and deal with weighty matters.
heldentenor: Derived from the German prefix meaning heroic, this is used to describe a large voice with
a brilliant range capable of performing the most demanding roles, usually used in reference to roles
written by Richard Wagner.
imbroglio: Chaos and confusion during an operatic scene, created by diversity of rhythm and melody.
intermezzo: A short musical entertainment between acts.
interlude: A short piece of instrumental music played between scenes or acts.
leitmotiv: A musical theme used throughout an opera to identify a character or plot situation. Also called
a ‗signature tune‘. It is identified with Wagner‘s operas in which the device was developed.
libretto: Italian for "little book," the text accompanying the opera.
lyric: Average-sized voice, neither extremely agile, nor especially dramatic.
lyric spinto: Spinto literally means pushed, but understood as somewhat heavier than the true lyric.
maestro: A courtesy title given conductors, composers, and directors. Italian for "Master."
masque: A blending of music, poetry, song, and dance.
mezzo soprano: Also called a mezzo, the middle female voice similar to an oboe in range. The mezzo
sound is often darker and warmer than the soprano. In opera, composers generally use the mezzo voice
to portray older women such as mothers, villainesses, seductive heroines, or in a few instances, a young
girl. A special operatic convention is the use of the mezzo to play young men, called trouser roles or
pants parts. The mezzo‘s normal range is from the A below middle C to the A two octaves above it.
opera buffa: Comic opera, popular in late 18 th and early 19 th century. Opposite of opera seria.
opera seria: A formal, serious opera, particularly prevalent in the 18th century.
operetta: Light-hearted musical entertainment containing dance, spoken dialogue, and practical jokes. A
musical.
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opera: A play that is sung. In opera, singing is the way characters express themselves. ‗Opera‘ is the
Latin word for ‗opus‘. Opera involves many different arts; singing, acting, orchestral playing, scenic
artistry, costume design, lighting, and dance. Opera is acted out on a stage with performers in costumes,
wigs and make-up. Virtually all operatic characters sing their lines, although there are exceptions where a
role in an opera will be spoken or performed in pantomime.
opera comique: French form of opera in which spoken dialogue alternates with self-contained musical
numbers. The earliest examples of opéra-comique were satiric comedies with interpolated songs, but the
form later developed into serious musical drama distinguished from other opera only by its spoken
dialogue.
opus: A single work or composition.
oratorio: A musical composition with religious, serious, or philosophical text for chorus, orchestra, and
soloists.
orchestra: The group of instrumentalists or musicians who, led by the conductor, accompany the singers.
orchestration: The art of writing for the orchestra. Decisions about what instruments should play which
parts of the music can affect the sound of a composition a great deal.
overture: The instrumental introduction to the opera, usually containing excerpts of the opera's themes.
prima donna: "First lady" or the female star of the opera.
principal arists: Big stars in opera and are cast in the main roles; they are on stage for greater amounts
of time and have the most solo work.
prompter: Sitting in a small box under the stage's apron, a prompter gives singers and choristers their
vocal cues and provides assistance for any on-stage memory lapses.
range: Definitions of different human voices—bass, baritone, tenor, contralto, mezzo soprano, soprano.
raked stage: A stage which slants upward away from the view of the audience.
recitative: The sung words which often come before an aria or ensemble, usually acting as dialogue. The
purpose of recitative is to advance the plot.
romantic :The period of music roughly between the early to mid 1800's and the early 1900's.
soprano: The highest female voice, with a sound similar to a flute in range. In opera, the soprano is most
often the heroine, since a high bright voice traditionally suggests youth, innocence, and virtue. The
normal range of a soprano is two octaves up from middle C, sometimes with extra top notes.
soubrette: A soprano or mezzo of very light vocal weight and comparatively small range, generally cast
as a young girl with a happy disposition.
staccato: Characterized by short, clipped, rapid articulation.
supernumeraries: The principal artists are the big stars in an opera, but opera would not be opera
without the addition of a great many more people. One such group is the supernumeraries or ―supers.”
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The supernumeraries are the masses you see on stage. They do not sing or have speaking roles, but
serve the very important purpose of making big crowd scenes believable. The supers must learn their
blocking or stage positions when they are on stage. In some opera companies, they also must learn to do
their own makeup, put on their own wigs and costumes, and be at all the rehearsals the director
schedules for them. If you have an itching to get on the big stage, becoming a super may be just the
ticket you are looking for!
supporting artists: These singers have smaller, but still individual roles.
tenor: Usually the highest male voice in opera. It is similar to a trumpet in range, tone, color, and
acoustical ring. The tenor is usually the hero. Ranges from the C below middle C to the C above.
tessitura: The average pitch of a piece. Tessitura encompasses all notes from the lowest to the highest.
trill: Two rapidly and repeatedly alternated notes.
trouser or pants role: A male character sung by a woman, usually a mezzo soprano.
verismo: Italian word for ―realism,‖ a movement in Italian literature and music reflecting the naturalism or
realism of a style made popular through the novels of Émile Zola. Stories tended to be about characters
from the 'lower' social strata and the moral ambiguities that these characters face because of their
position in society. Cavalleria rusticana and Pagliacci are perfect examples of Italian verismo operas.
vibrato: The wavering tone added by a singer while sustaining a note.
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