VERDI, G.: Traviata (La) (Aix-en-Provence Festival, 2003)

VERDI, G.: Traviata (La) (Aix-en-Provence Festival, 2003)


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- (Disc 1)
La traviata
Libretto/Text Author: Piave, Francesco Maria
Libretto Source: Dumas, fils, Alexandre
Conductor: Sado, Yutaka

Alfredo Germont: Polenzani, Matthew
Baron Douphol: Marabelli, Enrico
Dottor Grenvil: Sundqvist, Janne
Flora Bervoix: Pinto, Damiana
Gastone de Letorieres: Hernandez, Olivier
Giorgio Germont: Lucic, Zeljko
Marchese d'Obigny: Dene, Jozsef
Violetta Valery: Delunsch, Mireille

Set/Stage Designer: Wonder, Erich
Costume Designer: Schmidt-Futterer, Andrea
Lighting Designer: David, Franz Peter
Stage Director: Mussbach, Peter
Television Director: Kent, Don

Date of Production: 2003
Festival: Aix-en-Provence Festival
Venue: Theatre de l'Archeveche, Aix-en-Provence
Playing Time: 02:10:06
Catalogue Number: BAC205
UPC: 3760115302051



We all identify Traviata with the corrupt, led-astray heroine of Verdi's opera; with those women whose fatal sensuality incriminated families, threatening the social order, and compromising a morality where desire, with its subversive powers, was to be eliminated.

However, every myth benefits from a fresh perspective. And from the bedside of a repentant Madeleine, the guilty conscience of the XIXth century's hypocritical honesty, Peter Mussbach sees this myth differently. He sees it from a closer perspective. Perhaps his very contemporary vision of this past era can shed some
light on our vision of the modern woman.

The only performance from the eventful 2003 Festival d'Aix, this Traviata is carried all the way through by a radiant Mireille Delunsch, who, as always, pushes the limits of her art. Appearing in a wedding dress, evoking the sacrificed icon reminiscent of both Marylin and Lady Di, trapped by tragedy, Mireille Delunsch is Violetta.

Filmed by Don Kent, a master in the domain, Peter Mussbach's brilliant production is one long flashback, which leaves the spectator breathless. A truly remarkable director of actors, Mussbach focuses on the psychology of the opera's characters, and knows how to get the best out of his singers. For him, La Traviata is "written like a film in which the final act is one long twenty five minute shot, where we act as witnesses to Violetta's agony."

Part 1

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