The actual division - Opera

Premiere Revival on 4th October 2014 / Main stage

Opera in four acts (four scenes)
Libretto by Francesco Piave, based on the novel by A. Dumas, fils
Conductor Đorđe Pavlović / Zorica Mitev Vojnović 
Stage directing by Borislav Popović revived by Ivana Dragutinović Maričić
Set Designer Boris Maksimović
Costumes by Božana Jovanović revived by Olga Mrđenović
Choreographer Vladimir Logunov
Video Petar Antonović

Premiere cast:
Violetta Valéry Sanja Kerkez / Snežana Savičić Sekulić / Gordana Tomić
Alfredo Germont Dušan Plazinić / Dejan Maksimović / Janko Sinadinović
Giorgio Germont  Miodrag D. Jovanović / Vuk Zekić  / Vladimir Andrić  
Flora Bervoix  Svetlana Nestorov / Ljubica Vraneš / Tamara Nikezić / Višnja Radosav
Annina Tatjana Mitić / Jovana Belić

Doctor Grenvil Sveto Kastratović / Mihailo Šljivić
Baron Douphol Pavle Žarkov / Aleksandar Pantelić
Gastone, Viscount of Letorières Igor Matvejev / Darko Đorđević / Danilo Stošić / Slobodan Živković*
Marquis d’Obigny Mihailo Šljivić / Aleksandar Pantelić
Giuseppe Slobodan Živković*
Messenger Danilo Stošić


* Member of the “Borislav Popović” Opera Studio
Violetta’s and Flora’s friends and servants.
The story takes place in Paris and its surroundings in 1840.
Ballet solo: Olga Olćan, Mihajlo Stefanović, Goran Stanić
CHOIR, ORCHESTRA AND BALLET ENSEMBLE OF THE NATIONAL THEATRE IN BELGRADE
Concertmasters Edit Makedonska / Vesna Jansens
Chorus Master Đorđe Stanković
Stage Conductor Stefan Zekić
Music Associates: Srđan Jaraković, Nevena Živković, Nada Matijević, Gleb Gorbunov, Stefan Zekić, Marko Bogdanović
Ballet Repetitor Paša Musić
Prompter Silvija Pec / Biljana Manojlović
Stage Manager Ana Milićević / Branislava Pljaskić / Mirjana Goločevac

Organisers Maša Milanović Minić and Snježana Vujasinović Đorđević
Assistant Costume Desinger Sara Bradić
Make-Up Master Dragoljub Jeremić
Lighs Operator Petar Alagić, Miodrag Milivojević
Set Crew Chief Zoran Mirić
Sound Operator Roko Mimica
SET AND COSTUMES WERE MADE IN THE NATIONAL THEATRE’S WORKSHOPS


First premiere on 6th March 1853, Venice
The production premiered on 30th December 1991

 

 

ON LA TRAVIATA
All his life Giuseppe Verdi has relentlessly searched for new, daring and interesting stories which could be transformed into opera librettos. Thus, the novel The Lady of the Camellias by Alexandre Dumas, fils, published in 1848, attracts Verdi’s attention and becomes a point of discussion in wide range of social circles… Five years later, he becomes impressed with a stage version of the novel in the Theatre Vaudeville, and then he and Piave, a librettist, write the central points of the plot. It took only about forty days to compose the opera! The first premiere took place in the La Fenice Opera House in Venice…
During negotiations with the Venetian theatre, Verdi insists on having suitable actors for main roles, because he is aware that the opera introduces new and unusual elements: the plot, which will be presented, is set in modern times, well known and lived by the audiences. At its opening on 6 March 1853, La traviata regrettably fails. In his letter to Emanuele Muzio, his student and associate, Verdi says, “La traviata last night a failure. Was the fault mine or the singers’?... Time will tell.” … Three reasons for failure were pointed out. Firstly, the singers: Violetta Valerie was interpreted by Fanny Salvini-Donatelli, an overweight woman obviously in the best of health, who caused audience to chuckle watching her in the dying scene.  Lodovico Graziani, a tenor who interpreted Alfredo, had problems with his voice; and Felice Varesi, a baritone, did not show interest in his role, so he gave a bad performance of Germont’s aria, an aria very popular today. Secondly: Verdi and Piave have for inexplicable reasons allowed the use of costumes from the period of Luis XIV, which has completely changed the viewers’ correlation to the contents of the opera. Thirdly: the novelty of the plot, namely lack of audience’s readiness to see and appreciate the criticism of the world where money is the only thing held in high esteem and where everything could be bought.  However, Verdi was convinced that his opera possesses values, and in the next opening, planned for 6th May the following year (1854) in San Benedetto Theatre, also in Venice, the title role was interpreted by the unique Maria Spezia and due to her portrayal of Violetta the premiere was a great success. La traviata generally became a great success in the opera world, thus the fame of the opera helps keeping the Dumas’ play on stages…

Konstantin Vinaver (1980)


WHY THE RED CAMELLIA?
Dumas’ Violetta has always come to the theatre with a bouquet of camellias – 25 days in a month, those were white camellias and for 5 days, they were red… I believe that every woman can immediately grasp the subtle indication that when the camellias are red, Violetta is to go home alone. The men could find it a bit more difficult to understand this womanly sign, therefore I have never seen a production, directed by a man, in which Violetta gives a red camellia to Alfred (or to Armand, in the novel), thus postponing their intimate encounter until the flower withers away, or until the following day. All directors, whose productions I saw either in opera, or in drama staging, have romanticised the gesture of giving a flower, so they have always placed a white camellia into Violetta’s hand, not recognising the information, given to her most intimate friends and a current lover, that she is unavailable at the moment, or that “she is having a headache tonight”, as we would say today. This detail and several minor changes represent my contribution to the production in order to improve it, and I believe that our dear Bora Popović would not hold that against me. Because, everything we did - was done with reverence to our Bora.

Ivana Dragutinović Maričić