With this new production of La traviata at the 2011 Aix-en-Provence Festival, Natalie Dessay made her first European appearances as Verdi’s Violetta, a pinnacle of the soprano repertoire. She made her debut in the role in 2009 at the Santa Fe Festival in the US, and subsequently sang Violetta in Japan. Dessay’s 2011-12 season will include La traviata at the Vienna State Opera (in this Aix-en-Provence production by French theatre and opera director Jean-François Sivadier) and the New York Metropolitan.
In this live 1973 performance from Japan, Scotto is parthnered by one of the great tenors of our time, José Carreras, then at the start of his international career. The distinguished baritone Sesto Bruscantini is a formidable Germont who sings an exceptionally moving rendition of the famous aria "Di Provenza il mar".
Diana Damrau’s primacy as an interpreter of Violetta Valéry in La traviata can be inferred from the names of theatres where she has performed Verdi’s most popular opera: the Metropolitan, New York; La Scala, Milan; London’s Royal Opera House; the Bavarian State Opera in Munich and the Zurich Opera. Paris’s Opéra Bastille joined that list of leading houses in June 2014, when the German soprano appeared in a new production by the film director Benoît Jacquot. Conducted by Francesco Ivan Ciampa, it is presented on this DVD release from Warner Classics, which joins a DVD of Verdi’s Rigoletto, with Damrau as Gilda, recorded in Dresden and released in 2010, and the recent CD release of the soprano’s spine-tingling interpretation of Donizetti’s Lucia di Lammermoor, recorded live in Munich.
"This is the story of a dying woman. It is written as such. This is what it tells. During the performance, this woman dies before your eyes, in what is practically a live event. There is no way to conjure the fact away. The main subject of this opera is death and there is no way to avoid that. Death with love. Love with death. One and the other, one in the other." (Peter Mussbach)
Here is the opera event of 2005, the Salzburg Festival’s "La Traviata" featuring Anna Netrebko, Rolando Villazón, and Thomas Hampson in a dramatic staging by Willy Decker – the thrilling production that prompted riotous ovations not seen since Karajan’s heyday.
Opera superstars Renée Fleming and Rolando Villazón star in the sumptuous 2006 Los Angeles production of Verdi's tragic masterpiece.
"Violetta has lately become one of Fleming's signature roles, and she acted the part as compellingly as she sang it, which was warmly, with sparkling top notes and an ease with the vocal line that any singer would envy." (Los Angeles Times)
Verdi’s best-loved work, is performed here by a star cast in a revival of Richard Eyre’s highly acclaimed 1994 production. Music Director Antonio Pappano conducts La traviata for the first time at Covent Garden. American soprano Renée Fleming returns to Covent Garden to sing Violetta for the first time with The Royal Opera. La traviata was first performed at the Teatro La Fenice, Venice in March 1853.
Verdi, child of the people, king of popular opera, began life as the son of an innkeeper. He was brought up in modest circumstances. He first received lessons from the village priest, who was amazed by the young musician’s talents. Verdi’s musical education was rounded and complete: at the age of sixteen, the composer wrote fugues, masses and symphonies, which he would later destroy. As he met with reticence in Milan, he settled in Busseto where he fell victim to the pettiness of the town. However, his strong willpower enabled him to pursue his musical path without paying heed to what people said.
This recording of LA TRAVIATA is the third one in my collection (the other two being the Cotrubas/Kleiber and the Callas/Giulini recordings), and am I glad I bought it! As superb as those other two recordings are, I actually LIKE this one the most. It is an all-around excellent performance. Bergonzi's is possibly the finest Alfredo on any complete recording; Merrill is perfectly suited to Germont; Pritchard paces the opera beautifully; the recorded sound is spacious, with lots of atmosphere in the party scenes. But the real surprise of the recording is Sutherland. She brings all of her distinctive gifts to the role of Violetta: a ripe, beautiful voice; supreme coloratura ability; a talent for conveying pathos…