From legendary European designer Josef Svoboda, comes a towering vision of Verdi’s famous opera, dubbed the ‘Traviata of the mirrors’. Through the extraordinary window of a giant mirror, the audience gazes into the life of the ‘fallen woman’. Violetta Valéry is a celebrated courtesan who must choose between her desire for high society and her longing for love. Australian singing revelation Jessica Pratt brings to life the tragic figure of Violetta, a role often considered the pinnacle of soprano repertoire.
La traviata is presented by Victorian Opera in association with Fondazione Pergolesi Spontini. Image: La Traviata, Fondazione Pergolesi Spontini (Jesi, Italy) © Foto Binci.
Conductor Richard Mills
Director & Lighting Designer Henning Brockhaus
Set Designer Josef Svoboda
Costume Designer Giancarlo Colis
Set Designer for New Adaption Benito Leonori
Assistant Director & Choreographer Valentina Escobar
Violetta Valéry Jessica Pratt
Alfredo Germont Alessandro Scotto di Luzio
Giorgio Germont José Carbó
Flora Bervoix Dimity Shepherd
Gastone de Letorières Carlos E. Bárcenas
Baron Douphol Nathan Lay
Marchese d’Obigny Jeremy Kleeman
Doctor Grenvil Jerzy Kozlowski
Victorian Opera Chorus
Victorian Opera Chamber Orchestra
Her Majesty’s Theatre
Sung in Italian with English surtitles. 2 hours and 50 minutes with one interval. *Accessible performance.
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Performed in Italian with surtitles. 2 hours and 50 minutes with one interval.
Act One The courtesan Violetta Valéry hosts a party in her Paris salon, where she is introduced to Alfredo Germont, an admirer. When they are alone, Alfredo confesses his love. At first Violetta protests but then relents and asks him to meet her the following day. After the party, Violetta feels torn between her desire for freedom and love. She chooses freedom and Alfredo can be heard singing outside.
Act Two Months later they are living in a country house near Paris. Alfredo discovers that Violetta has been selling her possessions to support their lifestyle. He immediately leaves for Paris to procure funds. Violetta receives a party invitation from her friend Flora. In Alfredo’s absence, his father Giorgio Germont visits to try to persuade Violetta to end the relationship with his son. She relents and writes Alfredo a farewell letter. Alfredo returns and Violetta declares her love before departing for Paris. She attends the party with Barone Douphol, her new lover. Alfredo arrives and challenges the Barone to a game of cards. Alfredo then accuses Violetta of betrayal. Violetta faints and Germont arrives and denounces his son’s behaviour. The Barone challenges Alfredo to a duel.
Act Three Six months have passed and Violetta is dying. Germont has written to Violetta to inform her that Alfredo was not injured in the duel, and has told Alfredo about her sacrifice for him. Alfredo, discovering the truth, rushes to her bedside. The lovers plan to leave but after a last resurgence of strength Violetta falls dead at her lover’s feet.
© Dr Sharon Lierse
Immerse yourself in the world of opera with our La traviata programme! Director Henning Brockhaus shares his thoughts on the set designed by Josef Svoboda, Artistic Director and Conductor Richard Mills talks Traviata and much more!
"Jessica Pratt is without doubt a ‘prima donna assoluta’ (absolute first lady)…" - Limelight
"Alfredo Germont, was beautifully portrayed by tenor Alessandro Scotto di Luzio." - The Australian
"José Carbó is the heart and soul of this production as Alfredo’s father Giorgio." - Stage Whispers
View the La traviata photo album online >
Watch our timelapse video as we bring the La traviata set to life in Her Majesty's Theatre. Watch on YouTube >
Jessica Pratt is performing the role of Violetta Valéry. Jessica shares her thoughts on why performing Violetta is considered the pinnacle of a soprano's repertoire. "It's extremely complicated for the soprano requiring many diverse colours and emotions and of course the famous three different voices required to sing it. In the first act you need to have the brilliance and flexibility of a lyric coloratura then a full lyric is required for the duet with Germont and in the last act the score really calls for a dramatic soprano."
Richard Mills recently caught up with Australian soprano Jessica Pratt following her triumph in Lucia di Lammermoor at Milans’ famous La Scala theatre. Read the blog here >
Master of Music (Opera Performance) student Nathan Lay studied in the home of Fondazione Pergolesi Spontini earlier this year. See photos from his trip and read his journey here >
“Scenery is not an end in itself, but a logical component of the complementary arts of the stage. The scenic artist collaborates on equal terms with the author and the director” - Josef Svoboda. Read the article in The New York Times >
Buddy - resident opera dog and assistant to the Artistic Director - is treated to a story by Jessica Pratt in a rehearsal break... the book of choice? “Un Palcoscenica per due” by Mauro Neri, an Italian children’s story about the adventures of Jessica’s own opera dog, Fede! Jessica also shares Fede's story with Limelight. Read the article >