Rome

Sofia Coppola’s *La Traviata*, with costumes by Valentino, at the Teatro dell’Opera

Following the success of the ballet *A Midsummer Night’s Dream*, Verdi’s great classic returns to the programme from 21 to 30 June

 ph Yasuko Kageyama-Opera di Roma

2' min read

Translated by AI
Versione italiana

2' min read

Translated by AI
Versione italiana

From 21 to 30 June, Giuseppe Verdi’s *La Traviata* returns to the Teatro dell’Opera in Rome. This production follows the staging of the ballet *A Midsummer Night’s Dream* — with music by Mendelssohn and choreography by George Balanchine — at the Teatro Costanzi, and precedes *Aida*, which will move to the Circo Massimo from 12 to 28 July.

This stage production of Verdi’s opera was directed by Sofia Coppola and conducted by Francesco Ivan Spagna, and was first performed 10 years ago. The winning combination proved to be the one with the world of fashion.

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Violetta’s costumes were designed by Valentino Garavani, whilst the other costumes were designed by the creative directors of the time: Maria Grazia Chiuri, now creative director at Fendi, was responsible for designing the women’s costumes, such as Flora’s, whilst Pierpaolo Piccioli designed the chorus costumes.

The opera is based on Verdi’s final version from 1854 — it had already been staged in 1853, but had been a flop due to a substandard cast.

The appeal of this opera lies not only in Verdi’s score but also in Francesco Maria Piave’s libretto. The story is the same as that of Alexandre Dumas fils’s *Le Dame aux Camélias*, which was inspired by the meteoric life of the socialite Marie Duplessis (Verdi’s Violetta) and her romantic relationship with the writer before he became as famous as his father. A relationship that defied social conventions.

Equally striking are the elegant and sumptuous yet very understated scenes, which convey the image of a Parisian metropolis brimming with parties and fireworks, set against a more secluded, rural atmosphere. The first act captivates the audience both through its choral passages and the arias in which Violetta pines, having discovered her own fallibility (or perhaps her strength) in the face of Cupid’s arrows. Whilst the first scene of the second act loses its fast-paced rhythm, the second scene of the second act gets off to a flying start with the intriguing dance of the fortune-tellers and bullfighters, featuring the Teatro dell’Opera’s dance troupe. The climax of the drama comes with the protagonist’s sacrifice — her departure —, followed by her illness; here, too, the stage responds to the change in her health and mood: we are in Violetta’s bedroom, the curtains drawn to keep out the dazzling joy of Carnival day. The conclusion is marked by a crescendo in the music, and the expressiveness of the soprano Ekaterina Bakanova — who is standing in for Ermonela Jaho in the role of Violetta for a few performances — captivates the audience.

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