马林斯基剧院, 大剧场







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



作曲: 朱塞佩·威尔第

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




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。



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!




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+

© 2016 – 2019
The Mariinsky Theatre
Primorsky Stage Information Service
+7 423 240 60 60

The highlighting of performances by age represents recommendations.

This highlighting is being used in accordance with Federal Law N139-FZ dated 28 July 2012 “On the introduction of changes to the Federal Law ‘On the protection of children from information that may be harmful to their health and development’ and other legislative acts of the Russian Federation.”