"Richard Eyre's landmark production of Giuseppe Verdi's La traviata has returned to The Royal Opera House. The opera's themes encompass sex, death, grand passion, family honour and finally tragedy, and it marks the end of the vocal-led Bel Canto' period in opera, moving towards a greater depth of characterisation and narrative realism. The opera was adapted from Alexander Dumas the younger's 1852 play, La Dame aux Camelias, with Verdi's opera receiving its premiere in 1853 at Venice's La Fenice opera house."
"Both Western popular and high art culture have long fetishised the death of the talented and beautiful young woman: from Dido to Juliet, Marilyn Monroe to Ophelia, Jacqueline du Pre to Amy Winehouse. Grand opera is also littered with the bodies of mistreated heroines: Mimi, Cio-Cio San, Carmen, Gilda, Lucia, Tosca and Suor Angelica. La traviata is no exception to the rule, being based on the true story of Marie Duplessis."
Richard Eyre's landmark production of Giuseppe Verdi's La traviata has returned to The Royal Opera House. The opera explores sex, death, grand passion, family honour and tragedy and marks a shift from Bel Canto towards characterisation and narrative realism. Verdi adapted the score from Alexander Dumas the younger's 1852 play La Dame aux Camelias; the opera premiered in 1853 at Venice's La Fenice. The narrative follows courtesan Violetta and the naive bourgeois Alfredo. The work draws on the life of Marie Duplessis, sold by her father at 13 and later a celebrated grande horizontale with notable lovers. Eyre stages the opera with sumptuous design: a white crinoline at the opening, Bob Crowley's duck-egg blue country-house set, and golds and reds at Flora's party evoking opulence.
Read at www.london-unattached.com
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