La traviata

Composer: Verdi, Giuseppe

Librettist/Text Author: Piave, Francesco Maria

Libretto Source: Dumas, fils, Alexandre

Conductor: Sado, Yutaka

Orchestra: Orchestre de Paris

Chorus: Europa Chor Akademie

Chorus Master: Daus, Joshard

Alfredo Germont: Polenzani, Matthew

Annina: Kaemmerlen, Genevieve

Baron Douphol: Marabelli, Enrico

Dottor Grenvil: Sundqvist, Janne

Flora Bervoix: Pinto, Damiana

Gastone de Letorieres: Hernandez, Olivier

Giorgio Germont: Lucic, Zeljko

Giuseppe: Avenas, Jerome

Marchese d'Obigny: Dene, Jozsef

Violetta Valery: Delunsch, Mireille

Set Designer: Wonder, Erich

Costume Designer: Schmidt-Futterer, Andrea

Lighting Designer: David, Franz Peter

Stage Director: Mussbach, Peter

Television Director: Kent, Don

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Date of Production: 2003

Festival: Aix-en-Provence Festival

Venue: Theatre de l'Archeveche, Aix-en-Provence

Playing Time: 02:10:06

Catalogue Number: BAC205

UPC: 3760115302051

Libretto

La traviata

Synopsis

La traviata

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We all identify Traviata with the corrupt, led-astray heroine of Verdi's opera; with those women whose fatal sensuality incriminated families, threatening the social order, and compromising a morality where desire, with its subversive powers, was to be eliminated.

However, every myth benefits from a fresh perspective. And from the bedside of a repentant Madeleine, the guilty conscience of the XIXth century's hypocritical honesty, Peter Mussbach sees this myth differently. He sees it from a closer perspective. Perhaps his very contemporary vision of this past era can shed some
light on our vision of the modern woman.

The only performance from the eventful 2003 Festival d'Aix, this Traviata is carried all the way through by a radiant Mireille Delunsch, who, as always, pushes the limits of her art. Appearing in a wedding dress, evoking the sacrificed icon reminiscent of both Marylin and Lady Di, trapped by tragedy, Mireille Delunsch is Violetta.

Filmed by Don Kent, a master in the domain, Peter Mussbach's brilliant production is one long flashback, which leaves the spectator breathless. A truly remarkable director of actors, Mussbach focuses on the psychology of the opera's characters, and knows how to get the best out of his singers. For him, La Traviata is "written like a film in which the final act is one long twenty five minute shot, where we act as witnesses to Violetta's agony."