マリインスキー劇場の, 大ホール





Cast to be announced




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





ヴィオレッタは家に帰ると、アルフレードがいない。庭師ジュゼッペは彼女にフローラからの手紙を手渡す。これは舞踏会への招待状である。ヴィオレッタは、あっけらかんとしてそれを横に置いておく。行かないからのである。 突然アルフレードの父親、ジョルジョ・ジェルモンがやってくる。彼は息子を台無しにし、家族の評判を台無しにしたとヴィオレッタのせいにする。ヴィオレッタは絶望しています。彼女は致命的な病気で、長く生きられない。アルフレードへの愛は彼女の唯一の喜びと慰めである。ジョルジョ・ジェルモンは彼女の感情の誠実さに打たれているが、それでもアルフレードでヴィオレッタを破ることを主張している。ヴィオレッタは負け、彼女の幸せを犠牲にすることにした。

アルフレードはパリから帰ってきた。彼はヴィオレッタの興奮に驚いている。彼女は最後に熱い愛の言葉で彼に話しかけ、出ていく。アルフレッドは幸せである。 「これが恋に生きる心だ」と彼はヴィオレッタのことを言う。 アルフレードは、手紙を手渡される。これは彼女がドゥフォール男爵に戻ると知らせるヴィオレッタの別れの手紙である。アルフレードはびっくりしている。








О спектакле

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 – 2022
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.”