La Traviata - Verdi
Dates : July 23 & 26
August 01, 06, 08 & 10
Characters:
| Violetta Valery | Soprano |
| Flora Bervoix | Mezzo-soprano |
| Annina | Mezzo-soprano |
| Alfredo Germont | Tenor |
| Giorgio Germont | Baritone |
| Gastone, Letorières Viscount | Tenor |
| Douphol Baron | Baritone |
| Obigny Marquess | Bass |
| Dr Grenvil | Bass |
| Giuseppe, Violetta's servant | Tenor |
| Flora's servant | Bass |
| A Messenger | Bass |
Synopsis:
Act I
Paris, August 1850 Violetta Valery, a well known courtesan in Paris, is hosting an exuberant party. A friend, Gaston, introduces her to shy Alfredo Germont, who has been secretly in love with her for several months, throughout her recent illness. It is visible that she is suffering from tuberculosis. Violetta ironically remarks to the Baron, her current protector, that he himself shows less interest in her than the unknown young man. A toast is proposed, and Violetta and Alfredo exchange spirited repartee. Later, as the guests are dancing in another room of the house, Alfredo returns to her, begging her to change her self-destructive ways. She claims, though touched, that she is unable to be in a serious relationship with just one man. Nevertheless, she gives him a flower and tells him to return when it has faded, and then dismisses him. The other guests leave as dawn breaks, and finally alone, she ponders the mysterious young man: Is it her destiny to live for the love of just one, or rather to retain her liberty to follow pleasure wherever she seeks it.
Act II :
January, 1851 For three months, Alfredo and Violetta have been sharing an idyllic country home together, unmarried, on the outskirts of Paris. Alfredo expresses his joy and happiness. He learns from Annina, Violetta's maid, that Violetta must sell her material goods to meet their financial needs. He rushes out, off to Paris, to find the necessary money on his own. Giorgio Germont, Alfredo's father, unexpectedly arrives and coldly demands of Violetta that she leave his son. He softens when he learns the truth, that it is rather she who is keeping them in luxury. Germont continues, explaining that he also has a daughter, and that her brother's scandalous relationship is damaging his sister's ability to marry. At first Violetta doesn't understand, and thinks the proposed separation will be temporary. Brokenhearted, she eventually agrees to leave Alfredo forever. Germont, moved by the nobility of the young woman, takes his leave. She begins to write a farewell note, but Alfredo now returns, and Violetta, visibly shaken, very emotionally insists upon her love for him, then hurries out. Alfredo is uncomprehending of this outburst. As he opens the note which is now brought to him by a servant, he is staggered. At that moment his father returns, trying to console his son, but without mentioning his encounter with Violetta. He praises the virtues of family life in Provence, but the tortured Alfredo can only think of his departed Violetta.
Interval of twenty-five minutes
Act III
Evening, that same day A party is in full swing (bat son plein) at Flora Bervoix's house, a friend of Violetta. Alfredo arrives, alone. He sees Violetta, now accompanied by the Baron Douphol. The two rivals gamble together, and Alfredo wins a considerable sum of money. Violetta begs Alfredo to leave the party, knowing that the hot tempered Baron may challenge him to a duel. She is torn between telling him about her promise to Germont, and expressing her continued love for Alfredo. Finally, to extricate herself, she tells him that she indeed loves Douphol. Alfredo explodes with rage, gathers all the guests together, and publicly flings a huge fistful of money into Violetta's face, paying his debt to her. Germont, who has followed his son, reproaches Alfredo for his insulting, irresponsible behavior.
Act IV
February, 1851 Violetta, now seriously ill, has been abandoned by all except Annina, who remains at her side. Doctor Grenvil, who comes every morning, now privately tells Annina that Violetta only has hours to live. Violetta reads a letter from Germont, telling her that Alfredo, who had fled abroad after wounding the Baron in a duel, now knows the truth about Violetta's sacrifice, and is hurrying back to her. She desperately awaits, knowing her time is short. Bacchanalian revelers are heard on the street outside, it is Carnival. Alfredo finally rushes in, throwing himself into Violetta's arms. They plan to leave Paris again, and she will recover her health. Germont arrives, to visit the young woman, who he now considers as his daughter. Her strength gone, she gives Alfredo a pendant, and says, should he marry after her death, to give it to his bride: a gift from her who, among the angels in heaven, prays for him and for her. After a final burst of animation surges through her, she collapses, dead.
The Tales of Hoffmann - Offenbach
Dates : August 05, 07, 12, 14 & 17
Characters:
| Hoffmann | Tenor |
| The Muse, Nicklausse | Mezzo-soprano |
| Lindorf, Coppelius, Dr Miracle, Dapertutto | Bass-baritone |
| Andres, Cochenille, Frantz, Pitichinaccio | Tenor |
| Olympia | Soprano |
| Antonia | Soprano |
| Giulietta | Mezzo-soprano |
| Antonia's Mother | Mezzo-soprano |
| Nathanael | Tenor |
| Spalanzani | Tenor |
| Hermann | Baritone |
| Schlemil | Baritone |
| Luther | Bass-baritone |
| Crespel | Bass-baritone | >
Synopsis:
Prologue
In a boozy beer cellar in Nurenberg, the Muse appears and reveals her purpose: to draw Hoffmann's attention to herself, and guide him towards poetry and artistic creation. She magically disguises herself as Hoffmann's close friend Niklausse. The leading lady Stella, who will be performing in Mozart’s Don Giovanni in a few short minutes, sends a letter to Hoffmann, requesting a meeting in her dressing room after the performance. The Councilor Lindorf, a kind of incarnation of evil, intercepts the letter, as well as a key to the dressing room. Lindorf intends to replace his rival Hoffmann at the rendezvous. In the tavern many thirsty students are waiting for Hoffmann. He finally arrives, agitated, and also begins drinking, agreeing to entertain them with the legend of the dwarf Kleinzach. After a spirited and acidic exchange with Lindorf, the poet is coaxed into recounting the three great loves of his life.
Act I
Hoffmann's first love is Olympia, a sophisticated mechanical doll created by the scientist Spalanzani. The evil Coppélius, who engineered Olympia's eyes, sells Hoffmann a pair of magic eye glasses which make the doll appear as a real woman. Olympia sings her famous song, but she periodically keeps losing power, so Spalanzani dutifully rewinds her. Hoffmann, naively confused, is tricked into believing his affections are returned by Olympia, to the bemusement of Niklausse, who gently tries to warn his friend of the truth. Later, while dancing with Olympia, Hoffmann falls on the ground and his glasses break. Coppélius then appears and rips Olympia apart, in retaliation for non payment of his work for Spalanzani. With all laughing and mocking him, Hoffmann realizes that he had fallen in love with a mechanical doll.
Interval of twenty-five minutes
Act II
In Munich, Crespel has hidden his consumptive daughter Antonia away from the world. After an extensive search, Hoffmann eventually finds the house of his beloved. Antonia has inherited her mother's voice and talent as a famous singer, but her father forbids her to sing because of her mysterious illness. Further, he will not let her see Hoffmann, who encourages Antonia in her musical career, and is therefore a danger to her. Crespel leaves the house, so Hoffmann takes advantage of this to slip inside, and the lovers are romantically re-united in passionate song.
Crespel returns, but suddenly receives a visit from the evil Dr. Miracle, who forces Crespel to let him heal Antonia. Crespel despises the Doctor, blaming him for taking the life of his deceased wife. Hoffmann listens, and learns that Antonia may die if she sings too much. Hoffmann makes her promise to give up her artistic dreams, and she reluctantly agrees. Dr Miracle enters Antonia's room and tries to persuade her to follow her mother's glorious path. He cruelly states that Hoffmann only desires her for her physical beauty. With his mystical powers, Miracle conjures a vision of Antonia's dead mother and induces Antonia to sing: as her voice rises higher and higher, the effort eventually kills her. Crespel arrives just in time to witness his daughter's last breath. Hoffmann enters, and Crespel wants to kill him, judging him solely responsible for his daughter's death. A "doctor" is called for, Miracle again suddenly appears, and declares the young woman dead.
Interval of fifteen minutes
Act III
In Venice, Hoffmann, in spite of having renounced women, risks falling in love with the beautiful courtesan Giulietta. The captain Dappertutto has promised to give Giulietta a huge diamond if she steals Hoffmann's reflection (soul) from a mirror. Schlemil, a previous victim of Giulietta and Dappertutto (he also yielded his soul) wants to kill his rival Hoffmann. The jealous Schlemil challenges the poet to a duel, but is instead killed himself. Meanwhile, Hoffmann has fallen for Giulietta and cannot resist her: he yields his reflection, only to be abandoned by the courtesan, to Dappertutto's great pleasure. Giulietta abandons Hoffmann, instead embracing the dwarf Pittichinaccio in a departing gondola, as Nicklausse drags Hoffmann from the murder scene.
Epilogue
Back in Luther's tavern, Nicklausse suggest that the three false lovers were really aspects of Stella, the unattainable diva. The drinking recommences yet again, Hoffmann celebrating his drinking, which obliterates his creativity. Stella arrives in the tavern after a triumph in the opera house, but Hoffmann insults her, and she leaves on the arm of the evil Lindorf. The revelry continues anew, but in the final sequence, Nicklausse/theMuse bids him rekindle his imagination and genius, joined by an invisible chorus.... Des cendres de ton coeur rechauffe ton genie, dan la serenite souris a tes douleurs! La muse apaisera ta souffrance benie. On est grand par l'amour, et plus grand par les pleurs....