Verdi, Giuseppi: La Traviata (Study Guide) (Referat oder Hausaufgabe)

When Alexandre Dumas fils ("junior") fell in love with a notorious if charming courtesan named Marie Duplessis, his father was not amused. As the author of such hugely best-selling novels as The Three Musketeers and The Count of Monte Cristo, he was both highly respectable and very wealthy. He feared that his naive son would ruin his reputation and his fortune by becoming involved with such a woman, and he forced the young man to break off the relationship.

Not much later, she died of tuberculosis, then called "consumption," the most commonly deadly disease in the 19th century. The younger Dumas avenged himself against his father"s interference by creating a novel, then a play, in which an idealized courtesan named Marguerite Gautier who loves camelias proves to be more loving and generous than the hero"s father. Both works became hugely popular under the title La Dame aux camélias (or in English, Camille).

The story is a quintessential romantic attack on conventional bourgeois morality, arguing that a good heart is more important than propriety, that the social distinctions which split the beau monde (high society) from the demimonde (the world of illicit sex) are cruel and hypocritical, and that true love must triumph over all. That the story ends tragically is today often smugly said to indicate that the 19th-century readers could celebrate sexual freedom only when they doomed those who exercised it. But this is unfair. Dumas is expressing the romantic notion that the highest virtue in a human being is a good heart. If some people are too good for this world, that is the world"s loss.

To understand the story, it is important to keep certain facts in mind. In mid-19th-century France, almost as much as in England, sexual hypocrisy was widespread. Prostitution and gambling were extremely popular and widespread even as they were being publically condemned on every hand. Men were expected to have mistresses whom they supported financially, but they were expected to conceal that fact, and they were expected not to fall in love with them. Such courtesans were not classed with common prostitutes, but there should be no illusion about their motivation for participating in these affairs: they were in it for the cash and gifts, and were faithful to their lovers only so long as it suited them.

Any woman who slept with a man before marriage was thought to be "ruined" (i. e., rendered unfit to be wed), and should be shunned as a social leper. For many such women, some form of prostitution was the only means of survival. Respectable women feared and detested the courtesans, and would not permit them to mix in "polite society," as it was then called. Further, they were presumed to be predatory temptresses, bent on extracting their wealth from guileless young men, then abandoning them. The very most respectable families would not even want to be associated with another family in which one of the members was entangled with such a creature. It is this stereotype that Dumas set himself to break. It is a commentary on the complexity of moral attitudes during the time that the result was wildly popular.

In 1853, one year after Dumas dramatized his work, the Italian Giuseppi Verdi turned the story into one of the most popular operas ever written: La Traviata ("The Wayward Woman"), retaining the Parisian setting but changing the heroine"s name to an Italian one: Violetta . The Italians were considera bly more conservative in sexual matters than the French, and Verdi removed most of the seamier scenes from the original play and made his Violetta an almost angelic creature whose self-contempt and fear of risking love is almost incomprehensible unless one knows what everyone then knew: that she was a courtesan, loved only for her body and her high spririts, destined to die young and alone. This production hints at the shallowness of the affection her friends have for when, at the end of the first scene, one of her female guests placidly steals a valuable snuffbox off the mantle as she departs.

In Franco Zeffirelli"s striking production of the opera, while the overture is being played, we scan across Paris to the lavishly decorated apartment of Violetta, where we see her as she will appear in the last scene, abandoned, destitute, dying, her belongings being carted off to pay her bills. One of the young men who has come to help transport the goods is entranced by her portrait, and then catches of glimp se of her. Violetta then seems to see herself as she was in happier days; and as we travel swiftly back in time, the first scene begins. Although this unusual opening is not present in the original opera, it reflects the opening of Dumas" novel, which depicts a dreary auction of the impoverished Marguerite"s belongings.

In the first act, Alfredo tries to persuade Violetta to abandon her current lover, a older baron. To love this young man who has no money of his own (though his father is rich) would not only impoverish her, but open her up to disappointment. So long as she is the mistress of men like the baron, her heart remains untouched; but if she allows herself to believe in true love, she fears disappointment.

In the second act, they have moved to country; but Alfredo does not understand that this expensive way of life is being paid for by Violetta. His father comes to persuade her to give him up. Although he learns that, contrary to his expectations, she is not being supported by Alfredo, it is even more unacceptable to him (and polite society in general) to see a respectable young man being supported by the income of a "fallen woman."

By simplifying the emotions, purifying the heroine and pouring into this opera many of his most achingly beautiful melodies, Verdi created one of the masterpieces of romantic opera. Contemporary critics usually scorn what they call sentimentality; but the romantics meant to soften the heart and render the audience more humane, tolerant, and loving by telling this kind of story. Thanks to Verdi"s genius, for audiences willing to set aside their sophisticated skepticism, it can still work.

Opera is drama set to music, and both are important. The melodies of arias (solos), the complex interweaving of contrasting melodies in duets and trios, and the rousing harmonies of choruses are the very heart and soul of opera. Emotional raptures which might seem exaggerated in the theater are brought to life by music. This opera also contains a spectacular ballet in the first scene of the last act, in which Spanish gypsies perform a dance combining the themes of passion, money, and death which run through Traviata.

If you have never seen an opera before, it may take some time to get used to hearing characters sing their lines instead of speaking them. There can be a certain comic quality to some of the chorus" unison exclamations, for instance; but such artificialities are required by the music; and experienced opera-goers take them for granted.

Operas are usually sung in the language in which they were originally written; hence you will hear these Parisians conversing in perfect Italian. The reason for not performing the opera in translation is that the musical values of certain syllables are not preserved when one changes languages. Instead, to assist those of you who are not fluent in Italian, the filmmaker has provided subtitles (supertitles are used in most modern American opera productions for the same reason). If you are not used to it, this may be a bit distracting at first, but without them you would get much less of the story. After a while reading the titles becomes automatic. Because they appear at the very bottom of the screen, it is important to sit close enough to read them clearly and to have a clear view of them, without some other student"s shoulder cutting them off. Choose your seat carefully.