Organization

Singer

Soprano

Edyta Kulczak

Flora Bervoix

Bass

Christopher Job

The Marquis of Obigny

Baritone

Dwayne Croft

The Baron Douphol

Tenor

Scott Scully

Gaston

Paul Corona

The doctor Grenvil

Mezzo-soprano

Eve Gigliotti

Annina

Stage director

Michael Mayer

Conductor

Daniele Callegari

Lighting designer

Kevin Adams

Costume designer

Susan Hilferty

Set designer

Christine Jones

Choreographer

Lorin Latarro

Marco Armiliato

Nicola Luisotti

Nadine Sierra

Violetta Valery

Ermonela Jaho

Angel Blue

Stephen Costello

Alfred Germont

Ismael Jordi

Dmytro Popov

Luca Salsi

George Germont

Amartuvshin Enkhbat

Artur Rucinski

Siphokazi Molteno

Megan Marino

Deborah Nansteel

Jonah Hoskins

David Blalock

Brian Major

John Hancock

Jeongcheol Cha

Adam Lau

Patrick Miller

Giuseppe

Yohan Yi

Flora's Servant

Jonathan Scott

Commissioner

The Metropolitan Opera

Italian

La Traviata -  (La traviata)

New York City

United States

Metropolitan Opera House

La traviata Verdi

Public

La traviata

English

German

Spanish

Approved

The 2021 Summer HD Festival continues tonight at 7:30PM, with a free screening of Verdi’s La Traviata in Lincoln Center’s Damrosch Park. Met Music Director Yannick Nezet-Seguin conducts the 2018 Live in HD transmission, leading a cast that stars Diana Damrau as Violetta, tenor Juan Diego Flórez as Alfredo, and baritone Quinn Kelsey as Germont.
General-admission seating will open one hour before the screening on a first-come-first-served basis and will be at full capacity without social distancing. All guests (aged 2+) are required to wear a face covering, regardless of vaccination status. In addition, all guests (aged 12+) will be required to provide proof of full vaccination or a negative Covid-19 test, taken within 72 hours of the event.
Learn More: bit.ly/3xDZYBP

2021 Summer HD Festival: Verdi’s La Traviata

Three captivating sopranos with many previous triumphs to their names—Nadine Sierra, Ermonela Jaho, and Angel Blue— star as the self-sacrificing courtesan Violetta, one of opera’s ultimate heroines. Tenors Stephen Costello, Ismael Jordi (in his Met debut), and Dmytro Popov share the role of her self-centered lover Alfredo, alongside baritones Luca Salsi, Amartuvshin Enkhbat (another debut), and Artur Ruciński as his disapproving father. Michael Mayer’s vibrant production also features three maestros: Daniele Callegari, Marco Armiliato, and Nicola Luisotti.

World premiere: Teatro la Fenice, Venice, 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.

Creators
In a remarkable career spanning six decades in the theater, Giuseppe Verdi (1813–1901) composed 26 operas, at least half of which are at the core of today’s repertoire. Francesco Maria Piave (1810–76) 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 (1824–95) 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.

Setting
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).

Music
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.

Performance credits (Cast & Crew )

Cast

Crew