Whilst notusually considered a coloratura, she handles the first act scena withaplomb and brings a real sense of excitement and anticipation. Perhaps wiselyshe avoids the high option on the final note, and none the worse for that. Theconfrontations of the second act create the tension that is vital for asuccessful Traviata; no great histrionics but the deeply felt pain ofsacrifice and rejection.
La traviata (Verdi, Giuseppe)
Her Scene 2 duet with Alfredo brims with urgentpleading and in Act 3 the reading of the letter and its ensuing aria capturethe despair of her loneliness. This is a very full interpretation and Steber triumphsas this most testing of Verdi's heroines. Giuseppe DiStefano possessed one of the most exciting and 'natural' tenor voices of thetwentieth century, and it is his forthright ardour that is on show in thisperformance. Impetuosity is also around, for he not only pours out passion, butsometimes neglects the niceties of musical accuracy; a 'live' recording this, andno chance of re-takes.
But hear him in his duets with Violetta, admire thenuances which only a native Italian speaker can enliven, and it is easy tounderstand his popularity in this repertoire. This performance was Di Stefano'sfirst at the Met as Alfredo - perhaps nerves affected him - but there cannothave been many tenors there who sang the part with such relish. In some waysRobert Merrill's performance is the antithesis of Di Stefano's Ever thestylist, restrained with warm, full tone, he brings a great measure of gravitasto Germont pere 's deliberations.
Technically he is impeccable andhandles the extended duet with Violetta with compassion, admonishes his son atFlora's party as a stern patriarch. The second act aria, which can defeat lessable baritones, surely brings to Alfredo a pang of nostalgia for his southernhome. It is full of regret but without condemnation.
Merrill is eminently reliable,in the best sense, for there is never any danger of over-stretch or risk. Heknows what he can do vocally, which is much, and it is always beautifully delivered. Leading thishistoric performance is Giuseppe Antonicelli, who conducts lyrically and withelegance. It would be easy to overdo the sweetness of much of the score, and toallow the drama to lapse at other points; but Antonicelli paces the operasensitively and allows it the space and speed it needs. He, like most otherconductors of his day, sanctioned cuts in the score; one verse only of' Ahfors'e lui', and 'Teneste la promessa', no cabalettas for Alfredo and Germontin Act 2, but that's not unexpected.
What we do have is an exciting liveperformance of La traviata , flawed but superb. She is seated on a divan talkingwith Dr Grenvil and some friends. Some of those present jokingly rebukethe new arrivals for their lateness. Gaston, Vicomte de Letorieres, arrives, accompaniedby his friend Alfredo Germont, a distant admirer of Violetta. She invites thecompany to take their places for supper and Alfredo is asked to propose atoast.
Opera Duets La Traviata | Verdi | theranchhands.com
They go through, butVioletta falters for a moment, in a sudden attack of faintness. She seesAlfredo, who has stayed behind [5] He tells her that he has loved her sincehe first saw her, but she warns him not to think of her, since she has onlylight-hearted friendship to offer. Addio del passato Act III 2. Javascript is required for this feature.
La traviata in Full Score Mineola: Dover Publications , Friedrich Hofmeister , n.
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Stabilimento Tito di Gio. With introduction by Henry Edward Krehbiel Celebri arie d'opera per canto e piaforte - Soprano pp. This file is part of the Sibley Mirroring Project. Scores up to continued to specify "about I've temporarily removed the following to this talk page because it seems rather redundant given the information contained in the Synopsis.
However, please don't take this to mean that I view this information as useless for the article; rather, I'd like to promote a discussion on how we might better re-incorporate the material back into the article. Perhaps we might find a way to include a listing of the musical "numbers" alongside the synopsis of each act? Here's the section in the present text: The title "La traviata" means literally The Woman Who Strayed, or perhaps more figuratively, The fallen One, an allegorical reference to the fallen angel, "Satan".
- Scenes with Giorgio Germont in La Traviata.
- Beyond Behavior Management: The Six Life Skills Children Need;
- Giorgio Germont | La Traviata | Giuseppe Verdi | theranchhands.com!
- La Traviata;
I could be wrong, but I don't think that one can apply a direct allegory to Satan here. The original audience appears to have been puzzled by the fact that the opera had a contemporary setting. This seems inconsistent with the statement in the synopsis that "Many modern producers of La traviata set the opera in the 19th century. I utterly fail to see why the movie should not be listed in the section "Films and other versions" and is instead included in a list that otherwise includes only audio recordings.
About the opera La Traviata
I especially utterly fail to see why User: Whjayg is edit-warring to keep it that way. When I first made this change , I did so because I thought there was no reference to the Zeffirelli film at all on this page, because there was no reference to it in the only logical place to look for it. Surely the similarities between La Traviata and Moulin Rouge should be mentioned? And I'm sure there are plenty of other stories following a similar story line?
In Romania, in the final act, before meeting Alfredo, Violetta collapses to the floor and men and women wearing masks from the ball in Act II sing some puzzling aria of the Great Ox being in the streets of Paris. The lighting flickers and Annina presents Alfredo. However, he is wearing a white translucent cloak, as is his father and Gastone who enter the stage at a later time.
When she finally dies after stating that she feels much better , they do not react.
I think this hints to the fact that when Violetta collapses, she starts having illusions of what she wants most Alfredo, the blessing of his father and to get well. Sadly, they are not real, but at least she made peace with herself. I'd like to know if this is a variation of the original opera and, if not, maybe the synopsis should be changed to reflect that In the article, the famous aria is mentioned as quote Addio del passato — "So closes my sad story" unquote.
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This is obviously misleading as it is in no way an accurate translation or even a rephrasing of the aria's lyrics. It obviously has to do with the fact that the three words "addio del passato" are not a full phrase and do not mean anything on their own.