Giuseppe Verdi (1913-1901)
|Opera in three acts
|Stage Director : Peter Mussbach
Orchestre de Paris
Conductor : Yutaka Sado
‘’This is the story of a dying woman. It is written as such. This is what it tells. During the performance, this woman dies before our eyes, in what is practically a live event. There is no way to conjure the fact away. And yet, we don’t want to know, because today we abandon death. However, the main subject of this opera is death and there is no way to avoid that. Death with love. Love with death. One and the other, one in the other. Certain death and a love which cannot play itself out. That is the theme.’’
‘’ In the score, musical repetitions give the idea of an almost obsessive reconstitution of memories. It was these repetitions – similar to a state of coma, or a feeling that death is imminent, when we relive in a flash the most intense moments of our lives, that made me think of Violetta’s life as if it were already a memory. A sort of virtual image. Like moments that are not lived as a live event, but viewed again through the subjective lens of a camera. It is as if we do not know if what we are seeing is real, dreamed, desired or remembered. The images of a life that may now only be seen through the perspective of a rear-view mirror.’’
Peter Mussbach, director
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
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.”