La Traviata: Washington National Opera Look-In

Cuesheet Cuesheet Performance Performance Guide Guide

Opera Look-in featuring scenes from Giuseppe Verdi’s

La traviata With members of the Domingo-Cafritz Young Artist Program and the WNO Orchestra Conducted by Renato Palumbo Directed by Francesca Zambello

Major support for WNO is provided

by Jacqueline Badger Mars.

David M. Rubenstein is the Presenting Underwriter of WNO.

A Party in Paris Check your inbox: You’re invited to a party hosted by Violetta Valéry, one of the most fashionable ladies in Paris, France. Violetta hasn’t been feeling well, but that won’t stop her from having a good time—she thinks life should be as free and fun as possible and doesn’t believe in taking things too seriously.

Watch out, though, partygoers. There’s a handsome stranger who’s hoping to change her mind and capture her heart forever. But can Violetta ever be serious about love?

The Story Behind La traviata Based on a famous French play, La traviata (or, “The Lost Woman”) was written by celebrated Italian composer Giuseppe Verdi and was first performed in Venice, Italy in 1853. The music was designed to bring out the beauty and flexibility of the human voice—part of an Italian tradition known as bel canto (bell KAHN-toh), which means “beautiful singing.”

COSTUMES DESIGNED BY JESS GOLDSTEIN

Traviata’s Trick of Time Travel A little history: Some theatergoers considered La traviata to be too modern (and maybe even scandalous) for its time because the story centered on members of the upper classes behaving less than properly for the period. Verdi made an unusual choice by setting the opera in the “present” day with characters that would be immediately recognizable to viewers. To avoid offending anyone, however, producers moved the action back a century, making it harder for audiences to see any connection to their real-life society. And the trick worked. La traviata quickly became a runaway success.

In this performance, the WNO has pushed the story in the opposite direction to the turn of the twentieth century, a time closer to our own.

Wait…What Is an Opera Anyway?

An “opera” is a story told through music. Instead of speaking, the characters sing through their thoughts and emotions. Sometimes the characters sing by themselves and sometimes they sing in groups of two or more. There’s also an orchestra that plays with the singers using different combinations of instruments at different times.

2

What’s the Story?

At her home in Paris, pretty and popular Violetta Valéry (vee-oh-LEHT-tah vahl-ehREE), hosts a party for some friends. Among the guests are Flora (FLOH-rah) and Gastone (gah-STOH-neh), who introduces Violetta to Alfredo (ahl-FREH-doh), a young gentleman who confesses he’s been her secret admirer for a year. Alfredo has noticed Violetta has been very sick and says he wants to take care of her.

Despite the fact Violetta’s been spending a lot of time with the wealthy Baron Duphol (doo-FOHL), she’s drawn to Alfredo. Knowing true love might complicate things for her, she tries desperately to focus on simple pleasures like wine and dancing instead. Do you think she’ll succeed in getting Alfredo off her mind? And if not, do you think Alfredo’s father, Giorgio Germont (JYOR-jyoh jzhehr-MOHN), will approve of the romance?

Meet the Cast Operatic music calls for many different kinds of singing, from the very high to the very low. Here are some of the leading roles: Violetta Valéry, a beautiful Parisian (soprano—the highest female voice)

Gastone, Violetta’s friend (tenor— the highest male voice)

Alfredo Germont, a young man (tenor—the highest male voice)

Duphol, a wealthy baron (bass— the lowest male voice)

Flora, Violetta’s friend (mezzosoprano—a middle-range female voice)

Giorgio Germont, Alfredo’s father (baritone—a middle-range male voice)

About the composer…

Born near Busseto, Italy, Giuseppe Verdi (1813–1901) is a giant in the field of opera, having composed more than two dozen works during his long career. His political affiliations and love for his country made his music symbolic of the movement for Italian independence in the mid-1800s and, as a result, Verdi was considered both a national treasure and a revolutionary icon. His many operas— including Aida, Il Trovatore, and Rigoletto—are among the most performed in the world.

3

Learning to Listen Going to the opera means you’ll have to start listening in a new way if you want to take everything in. But don’t worry: This is less complicated than it sounds.

Try thinking of opera singing as its own type of language. When we’re speaking, our emotions can change the way our voices sound—and one word can have a thousand meanings depending on how you say it (loudly, softly, quickly, slowly, with a high- or lowpitched voice, etc.). The same is true for the characters in an opera.

Each voice you’ll hear will have its own special flavor depending on who the character is and what they’re saying.

Violetta, for example, is a lively young woman who’s also very ill.

Her voice will be on the higher side (a clue that she’s spirited and youthful) and will occasionally sound forceful (a reminder she likes to celebrate and have fun), but will also have moments of softness (a sign she has a terrible illness).

Alfredo, on the other hand, is a serious yet innocent young man.

His long musical phrases (like “sentences”) reflect how powerfully he feels for Violetta, but his higher, sunnier voice helps convey his shyness and inexperience.

When in doubt about how a character is feeling or what they’re thinking, always pay close attention to exactly how they sound.

(The instruments in the orchestra will give you hints as well.)

More things to listen for: e how Violetta’s aria at the end of Act 1 (“Sempre libera”) includes dazzling, rapid-fire notes that bounce around like laughter (this exceptional singing skill is known as coloratura, pronounced kuhl-er-ah-TOOR-ah)

e how Violetta and Alfredo’s duet is accompanied by instruments that support the singers but that sometimes play their own special melodies underneath

e how a musical scene can be full of feeling or emotion even if many voices are singing over one another or the words are a little difficult to hear or understand 4

On Stage and Behind the Curtain It takes a lot of work and a lot of people to create an opera—both on stage and off.

As you watch today’s performance, keep some of these key players and important aspects of the show in mind:

In the Spotlight

Behind the Scenes

Singers

Orchestra Players

The ladies and gentlemen who are the stars of the production. Their voices are responsible for telling the story and expressing the emotions of the characters. Today these performers will be singing in Italian—even though their story takes place in France.

Located in the dark pit at the foot of the stage.

Their instruments keep the opera on its musical feet and provide the singers with much-needed assistance. Listen up for the key role the orchestra plays in the opening scene in which Violetta’s party gets going and for the quiet “background music” while Violetta and Alfredo have a private conversation.

Sets and Props Things that give the opera a sense of place including the walls and furniture in Violetta’s home, the glasses raised by Alfredo and the guests, and the flower Violetta hands to Alfredo toward the end of the act.

The Conductor In charge of all things musical. They keep the instruments and singers in time by maintaining a strong beat and also by providing clues about how the music should sound (i.e., loud, soft, or sweet). Keep a close eye on the conductor during the performance.

The Stage Manager Using special headsets, the stage manager oversees all technical (electronic or mechanical) elements of the production from lighting and sound systems, to moving set pieces, and beyond— “cueing” the action in time with the music. They’re also in charge of more practical things like singers’ entrances and exits.

Designers Costumes Anything the characters wear including the dresses and tuxedos shown off at Violetta’s party, Violetta’s red gown, and Alfredo’s blue suit.

Lights Special lights set up all around the theater and in the fly space above. These help you see the action on stage and give you hints about the story, such as the time of day.

5

The individuals who design the sets, costumes, props, and furniture. These people usually make sketches of their creations and collaborate with the production staff (which includes the director, who’s responsible for all the onstage movements and overall look of the show) to come up with a polished design that will be built or sewn into life.

For Teachers Dear Teachers: Here are some thoughts and activities to share with students before the curtain rises and a little bit of homework fun for when it comes down.

Before the Look-In

list of words to describe each voice. Encourage kids to choose words that apply to sensations other than hearing, such as touch (“this voice reminds me of velvet”), sight (“those notes sound like they’re shimmering”), or taste (“his singing makes me think of chocolate mousse”).

Ask students if these sound qualities inspire different emotions for them.

Pre-Opera Prep Ask students what they think the experience of opera might be like. What sights and sounds do they expect? Be sure to point out that operas are similar to books and movies; they have something for everyone (comedy, action, thrills, etc.).

Fun with Instruments

Challenging Choices

Today, students will hear a full-sized orchestra. Can they list the four orchestra families? (Hint: strings, woodwinds, brass, and percussion.) Ask students what instruments they can identify by ear. Have them listen for these unique sounds during the show.

Violetta has to choose between her luxurious lifestyle and her only chance at real, lasting love. Ask students to reflect on the idea of a big, life-changing decision. Can they imagine what this might feel like? Have they faced a similar life-altering choice themselves? Have them split into groups and write short skits on the process of making a huge choice (be sure the skits include possible outcomes and repercussions for each big decision). If students feel comfortable, have them act out these sketches in front of their classmates.

After the Look-In Favorite Flavors Remind students to consider singing voices in terms of colors or “flavors.” Have students choose some of their favorite vocal artists and create a

David M. Rubenstein Chairman Deborah F. Rutter President Mario R. Rossero Senior Vice President Education Timothy O’Leary General Director Francesca Zambello Artistic Director

WNO acknowledges the longstanding generosity of Life Chairman Mrs. Eugene B. Casey.

WNO’s Presenting Sponsor Generous support for WNO Italian Opera is provided by Daniel and Gayle D’Aniello.

La traviata is a production of the Clarice Smith Opera Series.

Support for Opera Look-In is provided by the Paul M. Angell Family Foundation and The Prince Charitable Trusts.

Additional support for Opera Look-In is provided by A. James & Alice B. Clark Foundation; the Kimsey Endowment; The Morris and Gwendolyn Cafritz Foundation; and the U.S. Department of Education.

Major support for educational programs at the Kennedy Center is provided by David M. Rubenstein through the Rubenstein Arts Access Program.

Kennedy Center education and related artistic programming is made possible through the generosity of the National Committee for the Performing Arts.

The contents of this Cuesheet have been developed under a grant from the U.S. Department of Education and do not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the Federal Government.

© 2018 The John F. Kennedy Center for the Performing Arts

6