Jan 13 at 7 PM
Jan 16 at 8 PM
Jan 19 at 7 PM
Jan 23 at 1 PM
Jan 28 at 7:30 PM
Jan 31 at 3 PM
Feb 3 at 7 PM
Feb 6 at 1 PM
Apr 23 at 7:30 PM
Apr 28 at 7:30 PM
May 1 at 8 PM
May 5 at 7 PM
May 8 at 8 PM
All exchange fees will be waived for tickets purchased in the 2020–21 season.
Tickets for newly added performances of La Traviata go on sale to Patrons June 15 at 10 a.m.
Tickets for newly added performances go on sale to Subscribers and Members ($150 Supporting level and above) June 18 at 10 a.m.Tickets for newly added performances go on sale to the general public June 22 at noon.
The performances of La Traviata scheduled for October 24, 28, and 31, and November 5, 9, 13, 17, and 20 have been CANCELED. If you purchased tickets for any of these dates, please review your ticketing options.
The performances scheduled for January 13, 16, 19, 23, and 28 REMAIN on the calendar, but some curtain times have changed.
Performances have been ADDED on January 31 and February 3 and 6.
Please see individual dates below for casting details and curtain times.
Verdi’s poignant look at the fragility of love stars compelling sopranos Anita Hartig and Lisette Oropesa as the opera’s ill-fated heroine. Tenors Atalla Ayan, Stephen Costello, Dymtro Popov, and Migran Agadzhanyan trade off as Violetta’s idealistic young lover, Alfredo, with baritones Igor Golovatenko and Amartuvshin Enkhbat as his unbending father, Germont. Speranza Scappucci and Daniele Callegari conduct the heartbreaking score.
Production a gift of The Paiko Foundation.
Major additional funding from Mercedes T. Bass, Mr. and Mrs. Paul M. Montrone, and Rolex
World premiere: Venice, Teatro la Fenice, 1853. Verdi’s La Traviata survived a notoriously unsuccessful opening night to become one of the best-loved operas in the repertoire. Following the larger-scale dramas of Rigoletto and Il Trovatore, its intimate scope and subject matter inspired the composer to create some of his most profound and heartfelt music. The title role of the “fallen woman” has captured the imaginations of audiences and performers alike with its inexhaustible vocal and dramatic possibilities—and challenges. Violetta is considered a pinnacle of the soprano repertoire.
In a remarkable career spanning six decades in the theater, Giuseppe Verdi (1813–1901) composed 28 operas, at least half of which are at the core of today’s repertoire. Francesco Maria Piave (1810–1876) was Verdi’s librettist during his productive middle period and also worked with him on Ernani, Macbeth, Rigoletto, and La Forza del Destino, among others. Alexandre Dumas fils (1824–1895) was the son of the author of The Three Musketeers. The play La Dame aux Camélias is based on his own semi-autobiographical novel of the same name.
With La Traviata, Verdi and Piave fashioned an opera from a play set in contemporary times—an exception in the composer’s long career. Dumas’s La Dame aux Camélias was a meditation on the author’s youthful affair with the celebrated prostitute Marie Duplessis, known as a sophisticated and well-read woman whose charms and tact far surpassed her station. The play is still staged today in its original form and exists in several film incarnations, most notably Greta Garbo’s Camille (1936).
Verdi’s musical-dramatic ability to portray the individual in a marginalized relationship to society keeps this work a mainstay on the world’s stages. The vocal and emotional scope of the title character is enormous—from her Act I show-stopper aria “Sempre libera degg’io” to the haunting regret of “Addio, del passato” in Act III to the extended Act II confrontation with her lover’s father, Germont.