1 Table of Contents An Introduction to Pathways for Understanding Study Materials 3 Production Information/Meet the Characters 4 The Story of La Traviata Synopsis 5 Guiding Questions 7 The History of Verdi’s La Traviata 9 Guided Listening Prelude 12 Brindisi: Libiamo, ne’ lieti calici 14 “È strano! è strano!... Ah! fors’ è lui...” and “Follie!... Sempre libera” 16 “Lunge da lei...” and “De’ miei bollenti spiriti” 18 Pura siccome un angelo 20 Alfredo! Voi!...Or tutti a me...Ogni suo aver 22 Teneste la promessa...” E tardi... Addio del passato... 24 La Traviata Resources About the Composer 26 Online Resources 29 Additional Resources Reflections after the Opera 30 The Emergence of Opera 31 A Guide to Voice Parts and Families of the Orchestra 35 Glossary 36 References Works Consulted 40 2 An Introduction to Pathways for Understanding Study Materials The goal of Pathways for Understanding materials is to provide multiple “pathways” for learning about a specific opera as well as the operatic art form, and to allow teachers to create lessons that work best for their particular teaching style, subject area, and class of students. Meet the Characters / The Story/ Resources Fostering familiarity with specific operas as well as the operatic art form, these sections describe characters and story, and provide historical context. Guiding questions are included to suggest connections to other subject areas, encourage higher-order thinking, and promote a broader understanding of the opera and its potential significance to other areas of learning. Guided Listening The Guided Listening section highlights key musical moments from the opera and provides areas of focus for listening to each musical excerpt. Main topics and questions are introduced, giving teachers of all musical backgrounds (or none at all) the means to discuss the music of the opera with their students. A complimentary CD of the full opera, as well as the full libretto (with English translation), are provided as part of the Guided Listening resources and are sent via mail. Guiding Questions / Discussion Points Guiding Questions or Discussion Points appear within several sections of these materials to spark discussion in your classroom and facilitate student exploration. Note that these questions are not intended to serve as “official” learning outcomes for the opera experience; rather, we hope that they act as a point of departure for prompting meaningful analysis and conversation amongst students. We are aware that teachers incorporate the study of opera into their classrooms in many ways and to address a variety of student outcomes, and we expect that individual teachers will adapt these materials to best serve their specific curriculum and instructional goals. CD Provided Libretto Provided (with CD) Verdi: La Traviata Verdi: La Traviata Sutherland, Pavarotti, Manuguerra Sutherland, Pavarotti, Manuguerra National Philharmonic Orchestra National Philharmonic Orchestra Richard Bonynge (Conductor) Richard Bonynge (Conductor) Copyright 1991 The Decca Record Company Copyright 1991 The Decca Record Company Limited Limited 3 Production Information Music: Giuseppe Verdi Text (Italian): Francesco Maria Piave, after the novel La Dame aux Camélias , by Alexander Dumas fils World Premiere: Venice, Teatro La Fenice March 6, 1853 Meet the Characters Violetta Valéry (soprano): A courtesan suffering from consumption (tuberculosis). Flora (mezzo-soprano): Violetta’s friend. The Marquis d’Obigny (bass): Flora’s protector. Baron Douphol (baritone): An admirer of Violetta’s. Dr. Grenvil (bass): Violetta’s doctor. Alfredo Germont (tenor): Violetta’s lover. Annina (soprano): Violetta’s maid. Giorgio Germont (baritone): Alfredo’s father. 4 The Story of La Traviata : Synopsis Act I 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. Rumor has it that he has been enquiring after her health every day. The guests are amused by this seemingly naïve and emotional attitude, and they ask Alfredo to propose a toast. He celebrates true love, and Violetta responds in praise of free love. She is touched by his candid manner and honesty. Suddenly she feels faint, and the guests withdraw. Only Alfredo remains behind and declares his love. There is no place for such feelings in her life, Violetta replies. 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. Alone, Violetta is torn by conflicting emotions—she doesn’t want to give up her way of life, but at the same time she feels that Alfredo has awakened her desire to be truly loved. Act II Violetta has chosen a life with Alfredo, and they enjoy their love in the country, far from society. When Alfredo discovers 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. In Alfredo’s absence, his father, Giorgio Germont, pays her a visit. He demands that she separate from his son, as their relationship threatens his daughter’s impending marriage. But over the course of their conversation, Germont comes to realize that Violetta is not after his son’s money—she is a woman who loves unselfishly. He appeals to Violetta’s generosity of spirit and explains that, from a bourgeois point of view, her liaison with Alfredo has no future. Violetta’s resistance dwindles and she finally agrees to leave Alfredo forever. Only after her death shall he learn the truth about why she returned to her old life. She 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. But all the memories of home and a happy family can’t prevent the furious and jealous Alfredo from seeking revenge for Violetta’s apparent 5 betrayal. At the masked ball, news has spread of Violetta and Alfredo’s separation. There are grotesque dance entertainments, ridiculing the duped lover. Meanwhile, Violetta and her new lover, Baron Douphol, have arrived. Alfredo and the baron battle at the gaming table and Alfredo wins a fortune: lucky at cards, unlucky in love. 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. 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. Act III Violetta is dying. Her last remaining friend, Doctor Grenvil, knows that she has only a few more hours to live. Alfredo’s father has written to Violetta, informing her that his son was not injured in the duel. Full of remorse, he has told him about Violetta’s sacrifice. Alfredo wants to rejoin her as soon as possible. Violetta is afraid that he might be too late. The sound of rampant celebrations are heard from outside while Violetta is in mortal agony. But Alfredo does arrive and the reunion fills Violetta with a final euphoria. Her energy and exuberant joy of life return. All sorrow and suffering seems to have left her—a final illusion, before death claims her. THE METROPOLITAN OPERA 6 The Story of La Traviata : Guiding Questions Act I: One Happy Day • Why are the guests all so amused by Alfredo? What kind of a social scene is presented at this party? What sort of society does Violetta reside in? • Why is it so hard for Violetta to believe in the kind of sentiment that Alfredo expresses so easily? What does her skepticism say about the sort of life she has lived? • Think about the character of Violetta. Do you think she is truly independent? Do you think she is happy in her life? Why or why not? Act II: Father Knows Best • How could Alfredo be unaware that Violetta was paying for their life together by selling her things? What does his lack of awareness show about his disposition? • Do you think Giorgio Germont’s desire to end his son’s romance is truly in order to protect Alfredo? Do you perhaps think he might have a more selfish motive for wanting to be rid of Violetta? • Why does Violetta lie to Alfredo about being in love with Baron Douphol? How does Alfredo react? Act III: A Bittersweet End • Think of the relationship between Doctor Grenvil and Violetta. How is it that such an epicenter of society like Violetta would in the end really only have one loyal friend, Doctor Grenvil. What does this say about her world and Violetta’s place within it? • Why do you think Alfredo’s father has a change of heart about his son and Violetta? Do you think he just feels guilty because Violetta is dying or is it something more? 7 Act III: A Bittersweet End (continued) • Why might Violetta abruptly feel better, only to die suddenly? What does this say about her mental state? Or is her sickness preempted by Alfredo’s reappearance? Do you think Violetta dies peacefully? 8 The History of Verdi’s La Traviata La Traviata was conceived in 1852, the year that Alexander Dumas’ play La Dame aux Camélias went onstage at the Vaudeville in Paris. In July, composer Giuseppe Verdi had not yet settled upon the subject and libretto of the new opera he was to write for the Teatro la Fenice in Venice. In a letter to Marzari, president of that theater, Verdi wrote, “If there were a first-rank prima donna in Venice, then I would have ready a sure-fire subject, one that could not fail; but things being what they are, we must look for something suitable and adaptable to the situation.” This sure-fire subject—“simple and filled with love”, as Verdi described it on another occasion—was the story of Dumas’ heroine Marguerite Gautier.