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1. Verdi’s second wife Giuseppina Strepponi was considered by many gossips of the time to be a real-life “fallen woman” (La traviata is often translated as “The Fallen Woman,” and refers to the heroine of the opera, Violetta Valéry): before her relationship with Verdi she had many lovers and several children born out of wedlock. Do you think this is one reason why Verdi painted such a sympathetic portrait of Violetta? In what ways do you think life influences their art for composers, writers, and painters? Is the real life of the creators relevant in a discussion of the merits of their art?
2. La traviata is based on a very famous play from the 1850s, The Lady of the Camellias, by Alexandre Dumas, fils. Many operas have been based on plays, in fact. What play would you turn into an opera? Why? What qualities of the play you chose would translate well into the language of opera?
3. In Italy, Verdi’s music has always had special meaning. Many of his operas contained political overtones. He believed in republican ideals and actively supported the unification of Italy – in fact, he identified George Washington as his personal hero. The chorus to his opera Nabucco, “Va pensiero,” is practically the national anthem of Italy. Can you think of any American composers whose music symbolizes America, or what it means to be an American? Can their music cross the boundaries of race and culture to reflect the incredible diversity of this country, or does it speak to a specific group (cultural, racial, socioeconomic)? Or is music a universal language that erases such distinctions?
4. In Act One Violetta is hosting a wild party. Her Paris home is full of her friends. When Violetta’s fortunes change and she is unable to host such opulent parties, how many of these so-called friends remain? Is “friendship” often based on a “what can you do for me?” mentality?
5. Violetta claims that she lives only for pleasure: her life must be one wild party after another. At the end of Act One she declares that she could never return Alfredo’s love. What void is Violetta hoping to fill by partying all the time? What do you think Violetta is trying to forget?
6. In Act Two Alfredo’s father, Giorgio Germont, visits Violetta at the country estate where she has lived in blissful solitude with Alfredo for several months. Germont asks her to dissociate herself from his family, for Alfredo’s involvement with her is endangering his daughter’s marriage to a respectable young man. She agrees to leave Alfredo and sacrifice her short-lived happiness for the sake of his family. Was that the right thing to do? Is respectability more important than true love? Is her sacrifice a measure of how much she loves Alfredo, or, rather, an indication of delusion and a low opinion of herself and her own self-worth? Would a woman make a similar decision today?
7. The Finnish soprano Riika Hakola has noted that, “there is a constant battle between major and minor keys in Violetta’s music, and this tension reflects the two personalities within her.” What are the two personalities within Violetta?
8. The musicologist Roger Parker has noted that, “[Violetta’s] psychological progress through the opera is mirrored by her changing vocal character: from the exuberant ornamentation of Act One, to the passionate declamation of Act Two, to the final, well-nigh ethereal qualities she shows in Act Three.” What is the major event of each act? Why would what happens to Violetta make her music sound the way it does? Do you think Verdi did a good job translating Violetta’s changing psychological state into music that accurately and effectively reflects how she feels?
9. The Italian word for love, “amor” is invoked time and again in La traviata. It is an opera about love. Not a simple kind of love, of the flowers and sunshine variety (although the story of La traviata is littered with the wilted camellias of its heroine) but the “croce e delizia” of love, as Alfredo describes it: Love is both a cross and a delight, at the same time – it is a torment and a joy. Do you agree with this sentiment? How can love be both a torment and a delight?
10. Verdi and his librettist wanted to title the opera “Love and Death” instead of “The Fallen Woman.” Which do you think is a better title?
© 2006 Boston Lyric Opera
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