Vienna State Opera tickets 9 September 2024 - La Traviata |

La Traviata

Vienna State Opera, Main Stage, Vienna, Austria
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7 PM
US$ 97

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).

Important Info
Type: Opera
City: Vienna, Austria
Starts at: 19:00
Acts: 3
Intervals: 2
Duration: 3h

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).

Tenor: Juan Diego Flórez (Alfredo Germont)
Soprano: Lisette Oropesa (Violetta Valéry)
Baritone: Ludovic Tézier (Giorgio Germont)
Conductor: Domingo Hindoyan
Composer: Giuseppe Verdi
Author: Alexandre Dumas (fils)
Librettist: Francesco Maria Piave
Director: Simon Stone

Amidst the first fragile and gentle sounds of this opera is an air of foreboding death that lingers, and yet Violetta Valéry’s enthusiasm for life’s luxurious pastimes is still unwavering: She is the "It-Girl" of Parisian society and throws a lavish party during which she tries to mask her seriously ill health.

It is here, where she is introduced to Alfredo, a young man from the country. He has fallen in love with her, while she, at first, mockingly rejects his passionate advances, telling him she was not created for a love as intense as his. But she cannot stop thinking of his hauntingly enthusiastic declaration of love, and she then decides to start a new life at his side. The two withdraw from society and return to the country. After a few months of living together, Alfredo's father invades the couple's retreat and forces Violetta to leave her partner: she is a danger to his family's happiness and honour. Violetta acquiesces, and to make the separation easier on Alfredo, she hides the real reason for leaving him. When he confronts her at a ball in the capital, she claims to love someone else, whereupon the desperate Alfredo publicly humiliates her as being a harlot for sale. Weeks later, he learns that Violetta has sacrificed their happily ever after for his family, but it is too late: all hope is shattered upon Violetta's deathbed.

Giuseppe Verdi's opera, first performed in 1853, is based on "La Dame aux Camélias", or "The Fallen Lady", a novel and play by Alexandre Dumas the Younger, who brought the myth of the selfless sinner into the present times of 1848: The figure of the courtesan is exposed to the purifying powers of suffering and love, which, in challenging bourgeois morality, make her character acceptable to a bourgeois readership. For the first time, Verdi chose contemporary material for a tragic opera and, what’s more, used an "objectionable" main character. "For Venice I will do the 'Lady of the Camellias', which may have 'Traviata' as its title," is what he wrote to his friend Cesare de Sanctis. "A contemporary subject. Another one might not have made it, because of the costumes, the time and a thousand other silly scruples. ...I do it with the greatest of pleasures."

A performance in contemporary costumes was important to the composer, but found himself unable to have the last word regarding the imposed censorships: the plot had to be moved "to the time of Richelieu", i.e. to the first half of the 17th century. Verdi could only try to remedy the damage done, as the librettist Francesco Maria Piave wrote in a letter to the director of the theatre putting on the premiere: "As far as the costumes are concerned, Verdi agrees with the greatest displeasure to move the plot to the past. However, he does not allow wigs under any circumstances, which is why Mr. de Antoni must be instructed to use costumes from the period immediately before wigs were introduced." This falsification continued into the 20th century, and some sheet music and text editions still show the story being set "in the 17th century".

Nevertheless, the criticism of the bourgeois-capitalist double standard of morality as shown in the play was likely to be noticed even during the premiere, perhaps that is why it resulted in such a fiasco. Verdi was disappointed but did not doubt his work: "For my part, I believe that the last word about 'Traviata' was not spoken yesterday." It would become one of the most performed operas in the world to date.

The music in the opera is in line with the theme of an era that is nearing its end by setting itself up in a high tempo – as if there were no time to lose in view of the approaching end. As if breathlessly, the sound of a lavish social scene made up of galloping and waltz notes underpin the mundane conversational tone. Refined spatial effects shift the focus of action from the masses to the individual: With her weakness and her fear of death, the ill protagonist remains alone in the midst of a festive crowd. The intimate drama of Violetta inspired the composer – who treats the material with an unusually high degree of realism – to create scenic chamber music. The use of spoken language in Violetta's final agony also has a direct influence to this day in the context of an aesthetic that is largely committed to the vocal ideal of bel canto opera.

Director Simon Stone stages Violetta Valéry as a terminally ill influencer who remains trapped in her "Instagram world" even when she and her lover retire to the country. Everything private is public in her case, but the public urban space becomes her only retreat during her moments of weakness.

A co-production with Opéra national de Paris.

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.


Act 1

Violetta Valéry, a high-priced object of desire in Paris society, is out wildly partying again after a long sickness, but only seemingly recovered. Alfredo, a young man from the country, sings and toasts to the praises of true love. However, Violetta confesses to a different lifestyle of carefree enjoyment of life. In the middle of the wild party she suddenly passes out. After she with- draws from the crowd, Alfredo admits his love for her which Violetta does not want to accept: she can only promise him friendship but not love. But quickly she is overwhelmed by a conflict of feelings: should she give up her life now and accept her feelings?

Act 2

Violetta and Alfredo are now a couple and have retreated to the countryside. Since then Violetta has accumulated large debts which she is keeping secret from Alfredo. When Alfredo hears from Violetta’s housemaid Annina that she has sold her belongings in order to further finance their shared house- hold, he quickly returns to Paris to do his part and provide for them the necessary means.

During Alfredo’s absence, his father demands that Violetta end the rela- tionship in order to not endanger the family’s honor and therefore engage- ment of his daughter. After a long fight, Violetta consents and sacrifices her own happiness for the sake of Alfredo’s sister. She writes a farewell letter, avoids his return and secretly travels to Paris by herself. After he has read her delivered letter, Alfredo suspects Baron Douphol has stolen Violetta away from him. When he finds invitation for her to a Parisian party, he follows her in order to take his revenge.

At the orgiastic party, feelings are riding high. Alfredo wins at gambling and provokes Douphol. Violetta tries to prevent a further confrontation and asks to talk with Alfredo privately, in which she however withholds from him the true reason for their breakup. When Alfredo pressures her, she ad- mits to him that she loves the Baron. Filled with rage and disappointment, Alfredo insults Violetta as roughly and dirty as possible – horrifying every- one in the room.

Act 3

The impoverished Violetta is close to dying. Receiving a letter from Alfredo’s father, she hears that Alfredo now knows the truth and understands her sacrifice. But as the lover finally arrives, together with his father who has also hurried over, they find only someone who is dying.

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

Vienna State Opera - Vienna
Location   Opernring 2

The Vienna State Opera is one of the leading opera houses in the world. Its past is steeped in tradition. Its present is alive with richly varied performances and events. Each season, the schedule features 350 performances of more than 60 different operas and ballets. The members of the Vienna Philharmonic are recruited from the Vienna State Opera's orchestra. The building is also the home of the Vienna State Ballet, and it hosts the annual Vienna Opera Ball during the carnival season.

The 1,709-seat Renaissance Revival venue was the first major building on the Vienna Ring Road. It was built from 1861 to 1869 following plans by August Sicard von Sicardsburg and Eduard van der Nüll, and designs by Josef Hlávka. The opera house was inaugurated as the "Vienna Court Opera" (Wiener Hofoper) in the presence of Emperor Franz Joseph I and Empress Elisabeth of Austria. It became known by its current name after the establishment of the First Austrian Republic in 1921. The Vienna State Opera is the successor of the Vienna Court Opera, the original construction site chosen and paid for by Emperor Franz Joseph in 1861.

The opera house was the first major building on the Vienna Ringstrasse commissioned by the Viennese "city expansion fund". Work commenced on the house in 1861 and was completed in 1869, following plans drawn up by architects August Sicard von Sicardsburg and Eduard van der Nüll. It was built in the Neo-Renaissance style by the renowned Czech architect and contractor Josef Hlávka.

Gustav Mahler was one of the many conductors who have worked in Vienna. During his tenure (1897–1907), Mahler cultivated a new generation of singers, such as Anna Bahr-Mildenburg and Selma Kurz, and recruited a stage designer who replaced the lavish historical stage decors with sparse stage scenery corresponding to modernistic, Jugendstil tastes. Mahler also introduced the practice of dimming the lighting in the theatre during performances, which was initially not appreciated by the audience. However, Mahler's reforms were maintained by his successors.

Herbert von Karajan introduced the practice of performing operas exclusively in their original language instead of being translated into German. He also strengthened the ensemble and regular principal singers and introduced the policy of predominantly engaging guest singers. He began a collaboration with La Scala in Milan, in which both productions and orchestrations were shared. This created an opening for the prominent members of the Viennese ensemble to appear in Milan, especially to perform works by Wolfgang Amadeus Mozart and Richard Strauss.

Ballet companies merge

At the beginning of the 2005–2006 season, the ballet companies of the Staatsoper and the Vienna Volksoper were merged under the direction of Gyula Harangozó.

From the 2010–2011 season a new company was formed called Wiener Staatsballet, Vienna State Ballet, under the direction of former Paris Opera Ballet principal dancer Manuel Legris. Legris eliminated Harangozós's policy of presenting nothing but traditional narrative ballets with guest artists in the leading roles, concentrated on establishing a strong in-house ensemble and restored evenings of mixed bill programs, featuring works of George Balanchine, Jerome Robbins, Jiří Kylián, William Forsythe, and many contemporary choreographers, as well as a reduced schedule of the classic ballets.

Opera ball

For many decades, the opera house has been the venue of the Vienna Opera Ball. It is an internationally renowned event, which takes place annually on the last Thursday in Fasching. Those in attendance often include visitors from around the world, especially prominent names in business and politics. The opera ball receives media coverage from a range of outlets.

Important Info
Type: Opera
City: Vienna, Austria
Starts at: 19:00
Acts: 3
Intervals: 2
Duration: 3h
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