Verdi rarely identified himself with a role as much as with that of Violetta. Because of his biography, he was able to empathize with the characters to the highest degree, and never was his music more emotional and tragic than in this opera. Traviata became the most popular Verdi opera, in many countries the most popular opera ever.
Violetta is enchanted , but she scares away these foolish thoughts
Follie. It’s all madness, and she wipes the thoughts away. With virtuoso trills and runs that lead to high Des she sings of pleasure. Fueled by Alfredo’s singing, which she hears through the open window, she concludes this fiery and virtuosic cabaletta with an ecstatic high C.
Listen to a wonderful Angela Gheorghiu in a 1995 recording. There was something fairy-tale about the making of this complete recording of Traviata. The key event was her meeting with Georg Solti. At 84, Solti wanted to produce his first Traviata with unused forces and came across Angela Gheorghiu. At a hearing, she convinced him immediately. The rest is legend: “Her performance spontaneously convinced the BBC’s television management to change the program and go live to the Royal Opera House in London to televise the performance. Thus began the soprano’s triumphal march in London” (source: Wikipedia).
Sempre libera – Gheorgiu
Germont talks to Alfredo
Alfredo has not noticed that Violetta has left the house by carriage for Paris when a messenger hands him Violetta’s letter. Alfredo, who does not know the background, is deeply shocked. At that moment his father appears and learns of Violetta’s farewell letter. Germont tries to comfort his son with memories of Alfredo’s childhood home.
With an expressive cello cantilena accompanied by the flute, Verdi leads us into Germont’s world. The baritone sings a nostalgic melody adorned with graceful ornamental notes. It seems to the listener almost like a lullaby meant to soothe a child.
Listen to a recording of American baritone Robert Merrill with the NBC Orchestra conducted by Arturo Toscanini. Robert Merrill wrote at length in his memoirs about working on Traviata with Toscanini. On the one hand, he drew the picture of a tyrant who did not stop at even the most primitive imprecations, but also the picture of a gifted musician: “The Maestro made you better than you ever thought you could be. He made you float. He made the impossible possible”. Listen to the impressive 1946 recording of this collaboration. Merrill impresses with his lyrical baritone of great sonority.
Di Provenza il mar, il suol – Merrill/Toscanini
Violetta says goodbye to the world
As Violetta reads Germont’s letter, we hear the love theme tenderly sounding in the strings. Now begins one of the great farewell arias of operatic literature, introduced by the oboe and accompanied by sixteen muted string instruments. Violetta’s singing is occasionally played around by the cor anglais, occasionally doubled. The first stanza sounds somber in minor, the second transfigured in major.
Teneste la promessa…addio del passato – Callas
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