马林斯基剧院, 大剧场

茶花女

三幕歌剧

用意大利语唱
(俄语和英语字母)

Performers

指挥:

安东·托尔别耶夫

Violetta Valéry: Alena Diyanova
Alfredo Germont: Alexander Diyanov
Giorgio Germont: Alexander Gontsa

 

Credits

作曲: 朱塞佩·威尔第
编剧:弗朗奇斯科·玛利亚·皮亚韦
根据小仲马小说改编

Musical Director: Valery Gergiev
Musical Preparation: Olga Krukovich
Stage Director: Charles Roubaud
Revival Stage Director: Anna Shishkina
Set Designer: Bernard Arnould
Costume Designer: Katia Duflot
Lighting Designer: Igor Karmanov
Choreographer: Dmitry Korneyev
Principal Chorus Masters: Larisa Shveikovskaya and Anna Pipia

SYNOPSIS

故事发生于19世纪中叶的巴黎和巴黎郊外。

第一幕
巴黎名交际花薇奥莉塔•瓦蕾莉家中贺客盈门,这场宴会是为了庆祝薇奥莉塔身体康复特地举办的。其中一位来宾是青年子爵阿弗列德•杰尔蒙─登门拜访。他爱上了女主。阿弗列德站出来唱出颂辞,为爱情祝颂。宾客想移步到另一个房间跳舞,这个时候,患病的薇奥莉塔突然感到晕眩要先行离开。阿弗列德上前关怀薇奥莉塔的身体健康,同时也表达出心中的爱慕之意,薇奥莉塔心中感动,二人坠入爱河。

第二幕
巴黎郊外农庄,接受了阿弗列德爱情的薇奥莉塔,终于远离巴黎的风尘社会,来到乡下和阿弗列德过着平静安详的乡居生活。他们从来都没有过如此这般的幸福生活, 可是阿弗列德从薇奥莉塔的贴身女佣安妮娜中得知,他们二人已耗尽薇奥莉塔的积蓄,薇奥莉塔要变卖她最后的家产以维持二人的生计,阿弗列德感到十分苦恼。阿弗列德给薇奥莉塔留下便条,自己返回巴黎,希望可以赚一点钱回来。 阿尔弗雷德离开后,薇奥莉塔上场。这时,门房交给薇奥莉塔一份信函,原来是好友弗洛拉•贝尔伏娃邀请薇奥莉塔出席当晚的化妆舞会,但她不以为然,没打算赴会。

这时,一位男士前来拜访薇奥莉塔,这位访客是阿尔弗雷德的父亲乔治•杰尔蒙。他指责薇奥莉塔引诱阿尔弗雷德,他要求薇奥莱塔断绝与阿尔弗雷德的关系。深爱阿弗列德的薇奥莉塔起初不敢相信、也不愿接受乔治的要求,但在乔治的百般请求下,薇奥莉塔在伤痛欲绝的心情之下,终于点头让步。

阿弗列德从巴黎返回,薇奥莉塔有些不知所措,情急之下支吾其词,却不敢告知实情,只说要阿弗列德记得她永远的爱,随后即匆忙离去。阿弗列德察觉情况有异,但未再深入询问。

此时,门房送交薇奥莉塔的亲笔信函,阿弗列德读信之后,才知道薇奥莉塔已离他而去,回到杜弗男爵的身边。不知实情的阿尔弗莱德无法理解她的举动。 正巧乔治又回到了屋子里。乔治劝告儿子放下这段感情,和他一起回老家普罗望斯。但阿弗列德却连只字也听不进去。忽然他撇见桌上弗罗拉寄来的邀请函,心中暗想薇奥莉塔的去处,随即夺门而出。快重回巴黎!

第三幕
第一场
在弗罗拉的寓所内热闹的化妆舞会即将开始。宾客们正在一旁大桌上玩牌赌博,他们当中有阿弗列德。未久,薇奥莉塔在杜弗男爵的陪伴之下进场。薇奥莉塔因分手心中苦恼。他不断地冷嘲热讽男爵。客人们前去用餐,薇奥莱塔得以和阿尔弗雷德私下交谈。她不肯透露出走的原因,因妒忌而失去理智的阿尔弗雷德当众侮辱薇奥莱塔,称她是妓女,他将钱掷向薇奥莱塔。

第二场
薇奥莉塔感到格外孤寂。她所剩的时间已经不多了。薇奥莉塔从怀里掏出一封乔治•杰尔蒙写来的信,独自念起:乔治感激薇奥莉塔遵守诺言,并且也已转告阿弗列德有关薇奥莉塔所作的一切,而阿弗列德也将赶来向薇奥莉塔致歉。此时安妮娜告诉她,阿弗列德来了。他欢喜地与薇奥莉塔重聚,并打算一同永远离开巴黎。但虚弱的她在爱人阿尔弗雷德的怀抱中停止了呼吸。

ABOUT THE PRODUCTION

An image of the fallen woman (this is how the title of the opera is translated) with a noble heart grew extremely popular in the nineteenth century. The theme of the splendor and miseries of courtesans, besides the novel of Honore de Balzac with the same title, was touched upon by Joseph Eugene Sue in his novel The Mysteries of Paris and by Vsevolod Krestovsky in his novel Slums of St Petersburg. The Characters of those novels have their literary sisters and heirs represented by Dostoevsky’s Sonya Marmeladova, Zhenka from Kuprin’s story The Pit, and Katyusha Maslova from Tolstoy’s Resurrection. In 1848 Verdi was a witness of a scandalous success of the autobiographical novel of Alexandre Dumas, fils, La Dame aux Camelias (The Lady of the Camellias). Dumas told his own story of passion for Marie Duplessis, a famous woman of demimonde (in the book she appears under the name of Marguerite Gauthier). She died of tuberculosis in young age. The book turned out to be so popular that the word camellia soon became a common noun to mark a kept-woman. The opening of Verdi’s opera that was based on the novel’s plot, did not avoid a scandal either. However the unfavorable reaction of the audience was provoked not so much by the story and music but by the performers. Otherwise would it be possible to explain why a bit later La traviata was triumphantly performed in the largest opera theatres, and today it is in the top 10 operas of the world opera repertoire?

The music of Verdi’s opera is saturated with the element of waltz that reigned in European salons of the nineteenth century. This atmosphere was precisely captured in Pushkin’s poetry, “Both dull and yet so flaky just like a twirl of youthful life, the noisy waltzing twirl so swiftly goes around, a coupe after couple is darting by.” A short and bright life of the courtesan Violetta flies by very quickly in that chase for pleasures, just like that twirl of waltz. The waltz for that time is more than a dance. Its emergence made a real revolution. It replaced the arrogant minuet of the previous historic period when dance partners cold only touch tips of their fingers. When the waltz came it immediately gained a reputation of ‘a devil’s dance’ and became a symbol of seduction. Its moves were considered inappropriate because the man was supposed to embrace the woman and hold her like that in front of other people. However it did not stop the waltz from spreading like epidemics and reaching the highest circles of the society.

La traviata is truly an opera-portrait of Violetta. The character of her lover Alfred and his father Giorgio Germont really reveal themselves only by being around her. The role of Violetta is really a part for a Prima Donna and they always stage this opera having in mind a leading soprano in the company. La traviata at the the Primorsky Stage was brought from the historic Mariinsky Theatre Stage. It was produced by the French team with their director Charles Roubaud invited by Valery Gergiev. It is a spectacular show with silver and golden scenery built according to historic designs, using miles of silk and velvet fabric to make luxurious costumes. It was staged in 2002 and the leading role was to be sung by the world famous opera star Anna Netrebko.

Nadezhda Koulygina


World premiere: 6 March 1853, La Fenice, Venice
Premiere of this production: 15 December 2002, Mariinsky Theatre, St Petersburg
Premiere in Vladivostok: 25 September 2015

Running time: 3 hours 15 minutes
The performance has two intervals

Age category 12+

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