Music by Giuseppe Verdi
Conductor Carlo Goldstein
Director Mario Pontiggia
Scene Designs Francesco Zito and Antonella Conte
Costume Designs Francesco Zito
Lighting Designs Bruno Ciulli
Coreographer Gaetano La Mantia
Assistant Director Angelica Dettori
A production of the Teatro Massimo
Violetta Nino Machaidze (17, 20, 22, 24) / Jessica Nuccio (18, 19, 21)
Giorgio Germont Roberto Frontali (17, 20, 22) / Francesco Vultaggio (18, 19, 21, 24)
Alfredo Saimir Pirgu (17, 20, 22) / Giulio Pelligra (19, 24) / Alessandro Scotto Di Luzio (18, 21)
Flora Tonia Langella
Gastone Blagoj Nacoski
Il Barone Douphol Italo Proferisce
Il marchese d’Obigny Luciano Roberti
Il dottor Grenvil Andrea Comelli
Annina Francesca Manzo
Giuseppe Alfio Vacanti (17, 20, 22, 24) / Carlo Morgante (18, 19, 21)
Un domestico di Flora / Un commissionario Antonio Barbagallo (17, 20, 22, 24) / Enrico Cossutta (18, 19, 21)
Zingarella Francesca Davoli (17, 18, 21, 22) / Lucia Ermetto (19, 20, 24)
Matador Michele Morelli (17, 18, 21, 22) / Diego Millesimo (19, 20, 24)
Teatro Massimo Orchestra, Chorus and Ballet
Chorus Master Salvatore Punturo
Ballet Director Jean-Sébastien Colau
Violetta Valéry knows that she will die soon, exhausted by her restless life as a courtesan. At a party she is introduced to Alfredo Germont, who has been fascinated by her for a long time. The guests ask Alfredo to propose a toast. He celebrates true love, while Violetta responds in praise of free love (“Libiamo ne’ lieti calici”).
Suddenly Violetta faints, and the guests withdraw. Only Alfredo remains with her and reveals his love (“Un dì, felice, eterea”). Violetta replies there is no room for such feel- ings in her life. But she gives him a camellia, asking him to return when the flower has faded. He realizes this means he will see her again the following day.
When alone, Violetta is torn by conflicting emotions — she doesn’t want to give up the way she lives, but at the same time she feels that Alfredo has awakened her desire to be truly loved (“Ah, forse è lui che l’anima”).
Violetta has chosen a life with Alfredo, and they enjoy their love in the country, far from society (“De’ miei bollenti spiriti”). When Alfredo finds out that this is only possible because Violetta has been selling her property, he immediately leaves for Paris to procure money. Violetta has received an invitation to a masked ball, but she no longer cares for such distractions.
While Alfredo is in Paris, his father, Giorgio Germont, visits Violetta. He demands that she separate from his son, as their relationship threatens his daughter’s impending marriage (“Pura siccome un angelo”). Over the course of their conversation, Germont comes to realize Violetta’s unselfish love. Violetta’s resistance dwindles and she finally agrees to leave Alfredo forever, asking that after her death he shall learn the truth (“Mor- rò! La mia memoria”).
Violetta accepts the invitation to the ball and writes a goodbye letter to her lover. Alfredo returns, and while he is reading the letter, his father appears to console him (“Di Provenza il mar, il suol”). But all the memories of his home and his happy family can’t prevent the furious and jealous Alfredo from seeking revenge for Violetta’s apparent betrayal.
At the masked ball, news has spread of Violetta and Alfredo’s separation. Meanwhile, Violetta and her new lover, Baron Douphol, have arrived. Alfredo and the Baron battle at the gaming table and Alfredo wins. When everybody has withdrawn, Alfredo confronts Violetta, who claims to be truly in love with the Baron. In his rage Alfredo calls the guests as witnesses and declares that he doesn’t owe Violetta anything (“Ogni suo aver tal femmina”). He throws his winnings at her. Giorgio Germont, who has witnessed the scene, rebukes his son for his behavior. The Baron challenges his rival to a duel.
Violetta is dying. Alfredo’s father has written to Violetta, informing her that his son was not injured in the duel. Full of remorse, Germont has told his son about Violetta’s sacrifice. Alfredo wants to rejoin her as soon as possible. Violetta is afraid that he might be too late (“Addio, del passato bei sogni ridenti”). The sound of rampant celebrations are heard outside. But Alfredo does arrive (“Parigi, o cara, noi lasceremo”). Violetta’s energy and exuberant joy of life return. All sorrow and suffering seem to have left her — a final illusion, before death claims her.