Staatsoper Hamburg: La Traviata Tickets | Event Dates & Schedule |

La Traviata Tickets

Staatsoper Hamburg, Hamburg, Germany
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Available Dates: 8 - 19 Apr, 2025 (4 events)
Important Info
Type: Opera
City: Hamburg, Germany
Duration: 2h 40min with 1 interval
Acts: 3
Intervals: 1
Sung in: Italian
Titles in: German

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Choose the date to see the peformers
Composer: Giuseppe Verdi
Author: Alexandre Dumas (fils)
Librettist: Francesco Maria Piave
Director: Johannes Erath

Giuseppe Verdi was on the lookout for such a provocative, innovative tale when he encountered the novel La Dame aux Camélias by Alexandre Dumas the Younger. In the spring of 1852 he saw the “Lady of the Camellias” as a play adapted by the writer himself at the Vaudeville Theatre in Paris. The impression this made on him strengthened his resolve to use the tale for his next opera; the story gave him an opportunity to reformulate his grand theme: love defeated by the resistance of society.

Violetta is the most sought-after courtesan of the Parisian demimonde. However, her encounter with Alfredo makes her pleasure-seeking life seem questionable: they fall in love and try to build a life for themselves, far from the fast pleasures of the city. Her past, however, catches up with Violetta. Alfredo’s father persuades her that a separation is the only way to restore his family honour. Alfredo, unaware of the true reasons for her decision, insults Violetta in public. When they are finally reunited, Violetta has run out of time.

Premiere of this production: 06 March 1853, Teatro La Fenice, Venice

La traviata is an opera in three acts by Giuseppe Verdi set to an Italian libretto by Francesco Maria Piave. It is based on La Dame aux camélias (1852), a play adapted from the novel by Alexandre Dumas fils. The opera was originally titled Violetta, after the main character. It was first performed on 6 March 1853 at the La Fenice opera house in Venice.


Violetta Valérie, a courtesan in the demimonde of Paris, was Alfredo Germont´s lover. She hoped for a respectable life together with him, but this was not permitted by the double-morals of male society and by a fatal disease. All that remains for Alfredo is remorse, and the impulse to idealize Violetta as a saint.

Scene 1
Violetta lets herself be celebrated as the most beautiful and expensive courtesan of them all, but she suffers from consumption and must reckon with an early death. Alfredo Germont, a young man who has long adored her from a distance and is finally introduced to her, has apparently fallen in love with her seriously. Violetta is confused: Should she accept the offer of genuine love or should she continue to abandon herself to short-lived pleasures?

Scene 2
Alfredo and Violetta have moved to the country. Together with her, Alfredo feels like he is living in heaven and doesn´t worry about how much this life costs. However, he discovers that in order to finance their country life Violetta is selling all of her possessions little by little. While Alfred is on his way to Paris to stop this by using his inheritance, his father, Giorgio Germont, comes to Violetta and asks her to separate from Alfredo. Her past doesn´t allow her to marry him, and furthermore it makes a happy marriage impossible for Alfredo´s sister, since the prospective bridegroom refuses a union with their family as long as the bride´s brother lives together with a courtesan. With great pain, Violetta agrees to leave Alfredo for the sake of his family´s happiness. She writes him a farewell letter. When Alfredo returns from Paris she tries to act as if everything is normal and leaves him alone under a pretence. Alfredo reads her farewell letter while his father stands ready to comfort him. But Alfredo only feels angry, offended, and betrayed. He realizes that Violetta has indeed accepted the invitation to Flora´s party, where he intends to take revenge.

Scene 3
Now Flora lets herself be celebrated as the most beautiful and expensive courtesan in Paris. Violetta appears accompanied by her former lover, Baron Douphol. Alfredo soon appears as well and wins a great sum of money from Douphol in a card game. In a final private talk Violetta pleads with Alfredo to leave the party because she is afraid that his provocations could lead to a duel with the Baron. When Alfredo pressures her more and more to come back to him she professes to be in love with the Baron. This makes Alfredo realize that their separation is permanent. In a fit of violence Alfredo humiliates Violetta in front of all the guests.

Scene 4
Violetta, fatally ill, has been abandoned by almost all of her friends. Only Annina remains at her side, and Grenvil, the doctor, comes to visit. It is clear to them all that Violetta has only a few hours to live. Once again she reads the letter from Giorgio Germont, which explains that Alfredo fled the country after the duel with the Baron, but that he himself and Alfredo will return to her soon. However, it is clear to Violetta that she has waited in vain and will die alone. But, suddenly her beloved Alfredo appears, and they look forward happily to a future together. Even Alfredo´s father appears and apparently gives their union his blessing. At the climax of their joy Violetta feels as if she has found the power to live once again – but instead she must depart forever.

Set in and around Paris in about 1850.

Act I

Violetta Valéry, a Parisian courtesan, greets the guests at her salon. Among them are Flora Bervoix, the Marchese D’Obigny, Baron Douphol and Gastone, who introduces Violetta to a new admirer of hers, Alfredo Germont. The young Germont, who has been admiring her from afar, joins her in a drinking song. An orchestra strikes up in an adjacent room, inviting the guests to dance. As the guests make their way to the ballroom, Violetta, who is suffering from consumption, feels faint; she therefore sends the guests on ahead and retires to her boudoir to recover. Alfredo enters and, realising that they are alone, admits his love for her. She replies that love means nothing to her. She
is, however, touched by the young man’s sincerity and promises to meet him the following day.
When the guests have departed, she asks herself whether Alfredo is the man she could love. Despite
the strains of Alfredo’s love song drifting in from outside, she decides she prefers her freedom.

Act II

scene 1
A few months later: Alfredo and Violetta have set up house together in the country, outside Paris. Alfredo says how happy they are, but when Violetta’s maid Annina lets on that Violetta has been selling her belongings to pay for the house, he hastens into town to raise the money himself. Violetta comes in search of him and discovers an invitation from her friend Flora to a soirée that very night. Violetta has no intention of returning to her former life, but she is forced to reconsider
on encountering Alfredo’s father. He is very taken with Violetta and her civilised manners but orders her to renounce Alfredo: his son’s scandalous liaison with Violetta is threatening his daughter’s forthcoming marriage. Violetta considers his demand unreasonable, but before long Germont succeeds in persuading her. Alone and desolate, Violetta sends a reply to Flora accepting her invitation and sits down to write a farewell letter to Alfredo. His return takes her by surprise, and she can barely restrain herself as she passionately reminds him how much she loves him before
rushing out. As the maid brings him Violetta’s farewell letter, Germont returns to console his son and reminds him of life in their family home in Provence. Alfredo spots Flora’s invitation and suspects that Violetta has left him for another man. In a rage, he decides to confront her at the soirée.

scene 2
At the soirée, Flora hears from the Marchese that Violetta and Alfredo have parted. Flora asks the guests to make way for a visiting troupe of performing gypsies. They are followed by matadors and a song about Piquillo and his sweetheart. Alfredo rushes in and delivers some bitter comments about love and gambling. Violetta appears on the arm of Baron Douphol, who challenges Alfredo to a game of cards and loses a small fortune to him. As the guests go in to supper, Violetta asks to have a word with Alfredo in private. She is afraid the Baron will be enraged by his loss and urges Alfredo to leave. Alfredo misunderstands her and orders her to admit she loves the Baron. Disappointed by Alfredo’s reaction, Violetta lies and confesses that yes, she does. Alfredo calls the other guests to gather round in order to denounce his former beloved in public and throws the money he has won at her feet. Germont, arriving at that very moment, expresses his disapproval of his son’s behaviour. The guests likewise rebuke Alfredo and Douphol challenges him to a duel.


Violetta’s bedroom, six months later. Dr Grenvil tells Annina that her mistress has not long to live –
the consumption has taken its toll. Alone, Violetta rereads a letter from Germont saying that the Baron was only slightly wounded in his duel with Alfredo, that Alfredo has heard the truth and is
coming to beg her pardon. But Violetta realises it is too late. It is carnival time in Paris and, the sounds of the revellers having passed, Annina rushes in to announce Alfredo. The lovers ecstatically plan to leave Paris. Germont enters with the doctor just as Violetta rises from her bed with the last of her strength. Feeling a sudden rush of life, she sways and falls dead at her lover’s feet.

Venue Info

Staatsoper Hamburg - Hamburg
Location   Große Theaterstraße 25

Staatsoper Hamburg is the oldest publicly accessible musical theater in Germany, located in Hamburg. It was founded in 1678. With the emergence of the Hamburg Opera House, researchers attribute the formation of a national German opera school.

Opera in Hamburg dates to 2 January 1678 when the Oper am Gänsemarkt was inaugurated with a performance of a biblical Singspiel by Johann Theile. It was not a court theatre but the first public opera house in Germany established by the art-loving citizens of Hamburg, a prosperous member of the Hanseatic League.

The Hamburg Bürgeroper resisted the dominance of the Italianate style and rapidly became the leading musical center of the German Baroque. In 1703, George Friedrich Handel was engaged as violinist and harpsichordist and performances of his operas were not long in appearing. In 1705, Hamburg gave the world première of his opera Nero.

In 1721, Georg Philipp Telemann, a central figure of the German Baroque, joined the Hamburg Opera, and in subsequent years Christoph Willibald Gluck, Johann Adolph Hasse and various Italian companies were among the guests.

To replace the aging wooden structure, the first stone was laid on 18 May 1826 for the Stadt-Theater on the present-day site of the Staatsoper Hamburg. The new theater, with seating for 2,800 guest, was inaugurated less than a year later with Beethoven's incidental music to Egmont.

In 1873, both the exterior and interior of the structure were renovated in the reigning "Gründerzeit" style of the time, and again in 1891, when electric lighting was introduced.

Under the direction of Bernhard Pollini, the house mounted its first complete Ring Cycle in 1879. In 1883, the year of Wagner's death, a cycle comprising nine of his operas commenced. The musical directors Hans von Bülow (from 1887 to 1890) and Gustav Mahler (from 1891 to 1897) also contributed to the fame of the opera house.

In the beginning of the 20th century, opera was an important part of the theatre's repertoire; among the 321 performances during the 1907–08 season, 282 were performances of opera. The Stadt-Theater performed not only established repertoire but also new works, such as Paul Hindemith's Sancta Susanna, Igor Stravinsky's The Soldier's Tale, Ernst Krenek's Jonny spielt auf, and Leoš Janáček's Jenůfa. Ferruccio Busoni's Die Brautwahl (1912) and Erich Wolfgang Korngold's Die tote Stadt (1920) both had their world premieres in Hamburg. In the 1930s, after Hitler came to power, the opera house was renamed Hamburgische Staatsoper.

On the night of 2 August 1943, both the auditorium and its neighbouring buildings were destroyed during air raids by fire-bombing; a low-flying airplane dropped several petrol and phosphorus containers onto the middle of the roof of the auditorium, causing it to erupt into a conflagration.

The current Staatsoper opened on 15 October 1955 with Mozart's Die Zauberflöte. Hamburg continued to devote itself to new works, such as Hans Werner Henze's The Prince of Homburg (1960), Stravinsky's The Flood (1963), Gian Carlo Menotti's Help, Help, the Globolinks! (1968), and Mauricio Kagel's Staatstheater (1971).

In 1967, under the direction of Joachim Hess, the Staatsoper Hamburg became the first company to broadcasts its operas in color on television, beginning with Die Hochzeit des Figaro (a German translation of Le Nozze di Figaro). Ten of these television productions have been released on DVD by ArtHaus Musik as Cult Opera of the 1970s, as well as separately. All of these were performed in German regardless of the original language (six were written in German, one in French, two in English, and one in Italian).

More recently, Hamburg gave the world premières of Wolfgang Rihm's Die Eroberung von Mexico (1992) and Helmut Lachenmann's Das Mädchen mit den Schwefelhölzern (1997), for which it received much international acclaim. The company has won the "Opera House of the Year" award by the German magazine Opernwelt in 1997 and in 2005.

Important Info
Type: Opera
City: Hamburg, Germany
Duration: 2h 40min with 1 interval
Acts: 3
Intervals: 1
Sung in: Italian
Titles in: German

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

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