“Violetta Valerie is a triumph of feminism,” says Renato Palumbo, the famous Italian maestro. Renato Palumbo, who has a record of more than 50 productions of La Traviata, returns to Colon to conduct the final premiere of the lyrical season. One of the most beloved and popular works in its repertoire, it tells the story of a young courtesan (Violetta) who discovers love (Alfredo) among her lovers, extravagant people, and Parisian parties. Her life ends due to illness.
The short life of Marie Duplessis, the woman who actually inspired the character of Marguerite Gauthier in Alexandre Dumas (h)’s autobiographical novel. “He died in 1847 at the age of 23. Already in 48, Dumas wrote the following literary works: Lady of the camellia. “In 1852 Verdi composed the play, and in 1853 he composed the opera,” Palumbo recalls in a conversation. nation. “Never before has a composer as great as Verdi written such a lyrical work that suggests that he will go down in history six years after the death of anyone in this world. So we are witnessing a real victory for feminism.”
Emilio Sagi, the stage director who completed the new duo, which will be performed for nine public performances (and a 10th private performance) starting Tuesday, added: “What I want to tell is the story of a woman who is a victim of a disease (tuberculosis) and of a class society that does not forgive her past (her past as an overbearing prostitute) and does not allow her to redeem herself through relationships with wealthy men.” ”And while it may sound trivial, the idea of only telling what’s in the book is revolutionary compared to the prevailing trends in the genre. “I don’t want to interpret anything,” says the director, who started his coaching career in Spain. mischief 45 years ago. I know these words aren’t modern, but I don’t care. This work is so complete and wonderful that it is enough to tell the public what they can enjoy and be excited to see the beautiful sights. ”
“mischief “This is a very modern opera,” Palumbo defines. It’s modernity in simplicity. It is Picasso who, after a very long history of study and work, arrived at the synthesis of the two lines. It’s such beautiful music that I wouldn’t say it disturbs us, but it distracts us from the real drama and tragedy. ”
-Is it a class conflict or a moral conflict? Are they the values of another era or our values?
-Emilio Sagi: I think this is a current debate because if a son brings a prostitute into the family, she is often rejected, just like if a son has an affair with a man. Although it does not have the same premise as today, it is a current topic that we want to bring closer to our time by emphasizing the courage of Violetta, a character full of moral strength.
– Is there mercy in the eyes of Giorgio Germont, Alfredo’s father?
-teeth: none. The father is the catalyst, the manipulator who causes terrible things to happen. He goes to see her and tells her that he has to get away from Alfredo. She protested, thinking that she would rather die without that love. He responded with the worst cruelty. Despite knowing that she is ill, Violetta says, “Time will pass, and you will be young and beautiful…” Although she is a victim of class society, she has the dignity of being separated from the love of her life. Germont rescues himself through his fatherhood, his final realization of his guilt, and the beauty of the music he sings.
Renato Palumbo:- At first, the father was not bad. That’s what he says to her at the end of the letter. Because you can’t talk about a better future to someone who is dying. I saw it La Traviata The way I think about my girlfriend is completely different before I become a father and after I have a daughter. It is an opera that changes with us every day. And why does Violetta fall in love with Alfredo? Such an insignificant man.
-The idea of “telling the story as it is” is also modern.
teeth:- I did this opera in the 80s, and like all young people, I wanted to attract attention, to make a statement, to say something. I don’t want that today. I don’t want to interpret anything. I don’t want to teach. I have a lot of colleagues who like to lecture me about this and that. I believe that lessons should take place in the classroom and plays should take place on the stage. That’s why I want to convey this message through a choral work with wonderful artists and my three Violettas. I want to go at it with all my heart and with all the intelligence I have.
-How is your visual storytelling structured?
teeth:- Such a beautiful show. The setting is Paris in the mid-60s, an era of luxury and haute couture. The all-white set is because I saw in Violetta a very pure character, dressed in exaggerated and spectacular costumes (by Renata Schussheim). Lots of light with some dark moments. It wasn’t a ballet, but I wanted the chorus to participate in the dance just like the characters. The two opera parties are great moments, but very different. The former is more wonderful, the other more hilarious and vulgar. La Traviata This is a wonderful opera with no gaps. Even the frivolous passages have an impressive musical perfection and beauty. This plastic will be surprising, poetic and exciting at the same time.
-What kind of challenges does such a famous work present to a director? You said, “The music is so beautiful that it takes you away from the drama.”
RP: – Today, opera is not so well known. My grandfather, a simple Sicilian railway worker, knew. Trovatore, Rigoletto and La Traviata By memory. Today, opera lovers know about the singers (Callas, Sutherland, Moffo), but professionally speaking they do not know the deep meaning of music and harmony. It’s much more difficult. For example, the difference between the first and second prelude. What does the key of B minor mean? Violetta is already dead. What does C minor tell us? It still has some life. The director’s mission is to tell the story not in close chapters, but in a cinematic continuity where everything makes sense. It’s not easy. It gives you an idea about history, perhaps in a different way than usual. However, please be careful not to convey the content of the music. That’s too easy! No, no, the director has to tell what he discovered for himself by studying music.
-for example?
RP: -End of the first act. Folli Follie… They experience it as a great joy, a decision to have fun and live freely. In fact, the opposite is true. Because always on the harmonic side, if you want to be happy, the ending has to be in A major. But go to A flat, which is a morbid soft key. The orchestra below creates a happy place, a sweet and loving atmosphere. And Violetta’s words contradict that harmonious discourse. This is a resource that Verdy often uses. Like, Go to Pensiero Nabucco’s. A sad song about the oppression of slavery, sung in an almost happy major mode. He wrote this piece in the key of F major, which is one of the most difficult and difficult keys to play. Human suffering is carried by the orchestra in tonalities full of contradiction, hardship, and discomfort.
-As they say, the devil is in the details. Where is his seal?
RP:-There are moments when the power of words commands, not the power of music. That is my most important instruction. spin tossfurther away Litenutus. They are inflections, little things that make a personal impression. in adio del passatsung from the first note to the last, and we see that Violetta is very ill and that she is dying, as her suffering is written into the music.
– How can you unify the many details of the three cast members?
RP:-As you work with my material, I can take it anywhere in the world. Everything I want is clearly laid out and each character has their own personality and ideas, but it shouldn’t go against my ideas. However, I do not believe that music is art for the Taliban. It is a living, open art. The score seems easy for an orchestra to play, but the result is Mozart-like “the joy of a dilettante, the madness of a professional.” The same goes for La Traviata, which is difficult because you have to play the piano delicately and tastefully, but my job is to show you how to achieve that.
-You and the stage director have different opinions about the type of woman Violetta is. How do they complement each other?
RP: -Emilio’s work is always beautiful, classic and modern. He is smart, polite and does elegant things. We certainly have different opinions, but at the end of the day, it’s the orchestral atmosphere that brings out the message of the music.
La traviata, Written by Giuseppe Verdi. A new production of the three-act opera with an Italian libretto by Francesco Maria Piave, based on the novel The Lady of the Camellias (1848) by Alexandre Dumas (h). Performances: November 18, 19, 20, 21, 23, 25, 26, 28, 29. Venue: Teatro Colon (Libertad 621).
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