Name: La Traviata
Start: 2025-06-14T00:00:00.000Z
End: 2025-06-27T00:00:00.000Z
Location: Grand-Théâtre

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Grand Théâtre de Genève

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Choeur du Grand Théâtre de Genève

Orchestra

Orchestre de la Suisse Romande

Conductor

Paolo Carignani

Stage director

Karin Henkel

Set designer

Aleksandar Denić

Costume designer

Teresa Vergho

Dramaturge

Malte Ubenauf

Chorus master

Mark Biggins

Singer

Soprano

Ruzan Mantashyan

Violetta Valery

Jeanine De Bique

Tenor

Enea Scala

Alfred Germont

Julien Behr

Baritone

Luca Micheletti

George Germont

Tassis Christoyannis

Emanuel Tomljenović

Gaston

Yuliia Zasimova

Flora Bervoix

Mezzo-soprano

Elise Bédènes

Annina

Bass

Raphael Hardmeyer

The Marquis of Obigny

Mark Kurmanbayev

The doctor Grenvil

David Ireland

The Baron Douphol

italiană

La Traviata -  (La traviata)

Geneva

Switzerland

Grand-Théâtre

La Traviata Verdi

Public

La traviata

Sharan Allad

engleză

franceză

Approved

Accordionist

Instrumentalist

Archlutenist

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Bassist

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Cellist

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Contrabassist

Cornettist

Flutist

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Harper

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Musette de cour Player

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Timpani

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Chefdirigent Musiktheater

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Poet

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Stage Manager

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Vocal coach

Wig & Makeup Designer

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Writing and performance

Contralto

Bass-baritone

Countertenor

Alto

Child vocalist

Continuo

Silent

Spoken

Pour terminer la saison, l’une des figures les plus emblématiques du sacrifice féminin à l’opéra : Violetta Valéry. Ou Marguerite Gautier dans La Dame aux camélias, l’œuvre originale d’Alexandre Dumas fils. Demi-mondaine à l’âme pure et généreuse, elle fait l’offrande de son bonheur sur l’autel de la morale bourgeoise afin de protéger la réputation et l’avenir de son amant – et gagne au passage la palme de la plus longue scène d’agonie du répertoire… Mais au sein même de ce sacrifice expiatoire, dans ce « oh joie ! » ultime qu’elle pousse en expirant sous les feux transis de nos projecteurs, Violetta atteint une gloire romantique qu’aucun des hommes qui gravitent autour d’elle ne partagera jamais. Ces hommes, eux, se contenteront sans doute d’une petite mort paisible et bien-pensante. Et hors champ.

Karin Henkel, une des grandes metteuses en scène du théâtre allemand actuel revient au genre de l’opéra après sa brève et remarquable incursion dans Le Joueur de Prokofiev à l’Opera Ballet Vlaanderen en 2018. En confrontant Violetta à des alter ego venus de différentes époques, elle interrogera le sacrifice d’une héroïne du XIXe siècle à travers un regard féminin d’aujourd’hui. Habilement soutenue par les décors versatiles d’Aleksandar Denić et les costumes fantasques de Teresa Vergho, la lecture de Karin Henkel offrira une vision fraîche de ce drame archi-connu. De là à rendre la pièce féministe, il n’y aurait encore que quelques pas.

Le chef italien spécialiste de Verdi Paolo Carignani mènera la relecture de cette partition iconique avec l’Orchestre de la Suisse Romande et un brillant double cast. Après le sacrifice de Rachel dans La Juive en 21-22 dont elle a livré une interprétation remarquable, Ruzan Mantashyan mettra son soprano brillant au service de celui de Violetta, en alternance avec Jeanine De Bique, étincelante Poppée sur la scène du GTG en 2021. Soit deux prises de rôle très attendues. Face à elles en Alfredo, alterneront l’impressionnant belcantiste italien Enea Scala et le timbre solaire du Français Julien Behr.

français

To end the season, one of the most emblematic figures of female sacrifice in opera: Violetta Valéry. Or Marguerite Gautier in Lady of the Camellias, the original work by Alexandre Dumas fils. A demi-mondaine with a pure and generous soul, she offers up her happiness on the altar of bourgeois morality in order to protect the reputation and future of her lover – and in the process wins the prize for the longest dying scene in the repertory… But even within this atoning sacrifice, in this final ‘Oh joy!’ that she pushes out on the exhale, under our cold spotlights, Violetta achieves a romantic glory that none of the men who gravitate around her will ever share. These men will undoubtedly be content with a small, peaceful and self-righteous death. And off-camera.

Karin Henkel, one of the great directors of German theatre today, returns to the opera genre after her brief and remarkable foray into Prokofiev’s The Player at the Opera Ballet Vlaanderen in 2018. By confronting Violetta with alter egos from different eras, she will examine a 19th century heroine’s sacrifice through a modern female gaze. Skillfully supported by Aleksandar Denić’s versatile sets and Teresa Vergho’s whimsical costumes, Karin Henkel’s reading will offer a fresh vision of this well-known drama. From here, it would take only a few more steps to turn the piece into a feminist work.

Italian conductor and Verdi specialist Paolo Carignani will lead the reinterpretation of this iconic score with the Orchestre de la Suisse Romande and a brilliant double cast. After Rachel’s sacrifice in the Jew of 21-22, in which she delivered a remarkable performance, Ruzan Mantashyan will place her brilliant soprano at the service of that of Violetta, alternating with Jeanine de Bique, who was a sparkling Poppea on the GTG stage in 2021. Two highly anticipated roles. Alternating opposite them as Alfredo will be stunning Italian belcantist Enea Scala and solar-toned Frenchman Julien Behr.

English

La traviata by Verdi, Mie 18 Iun. 2025, De la (2025/2025), Regizat de către Karin Henkel,, Dirijor Paolo Carignani, Grand-Théâtre, Geneva, Switzerland

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