Opera Daily 🎶 — A Weekend of Traviata
Conductor Nicola Rescigno asked Maria Callas about La traviata: “Why do you crack that final note every night? "And her answer was: “Because this is how you sing when you are dying”.
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Greetings from London!
This weekend in London is shaping up to be an awesome journey through opera.
I'm excited to be here to see my friend Nicole Chevalier, whom you might remember from previous features in our newsletter, take on the role of Violetta in Verdi's La traviata at ENO (English National Opera). I also have the opportunity to experience Marina Abramović's “7 Deaths of Maria Callas.” Abramović, a Serbian conceptual and performance artist, brings her vision to the Callas’s life and works. It should be interesting!
While I'll share more about these performances next week, they’ve certainly put me in the spirit of La traviata.
So, in today's feature, let’s dive into one of the most moving arias from this opera, performed by Maria Callas. Her rendition of “Addio del passato” is not just a performance; it's an embodiment of Violetta's soul. As she sings this farewell to her dreams of happiness, Callas’s voice conveys every nuance of Violetta's despair.
Today we’re listening to…
"Addio del passato," sung by Maria Callas from Giuseppe Verdi's opera La traviata.
🌟 Spotlight on La traviata:
La traviata is one of Giuseppe Verdi’s most famous works, an opera that delves into love, sacrifice, and societal norms. In "Addio del passato", we experience the emotional tip of the opera’s heroine, Violetta Valéry. Violetta sings this aria as she writes a farewell letter to her lover, Alfredo, knowing that her illness leaves her with little time left. It’s a farewell to her dreams of a happy future that will never be realized. The music, filled with Verdi's signature melodic lines, is both heart-wrenching and beautiful, capturing the essence of Violetta's tragic predicament.
🎧 Treat Your Ears (3 minute listen): Maria Callas's interpretation of "Addio del passato" from Verdi’s La traviata, live from Teatro alla Scala, 1953.
Italian-American conductor Nicola Rescigno asked Maria about La traviata: “Why do you crack that final note every night?" And her answer was: “Because this is how you sing when you are dying”.
"Addio del Passato", English Translation
Farewell, happy dreams of the past,
The rosiness in my cheeks has already gone pale;
The love of Alfredo I will miss,
Comfort, support my tired soul
Ah, the misguided desire to smile;
God pardon and accept me,
All is finished.
The joys, the sorrows soon will end,
The tomb confines all mortals!
Do not cry or place flowers at my grave,
Do not place a cross with my name to cover these bones!
Ah, the misguided desire to smile;
God pardon and accept me,
All is finished.
A Glimpse into La traviata:
Premiere: Venice, March 6, 1853.
The Title’s Meaning: La traviata translates to "The Fallen Woman" — a reflection on the judgment faced by Violetta from society and even from those she loves.
The Role of Violetta: A part demanding vocal agility and deep emotional expression, Violetta's character arc is a journey through joy, love, despair, and resignation. The role of Violetta requires a singer with three different voices, one for each Act.
The first act requires the agility and lightness of a coloratura soprano. Violetta's character here is lively, flirtatious, and seemingly carefree. This is best exemplified in the aria “Sempre libera,” which demands rapid vocal runs, trills, and a high tessitura. The voice must be capable of conveying both her superficial joy and the undercurrent of melancholy.
In the second act, Violetta's character becomes more complex. She's deeply in love and faces emotional turmoil. The music here requires the warmth and expressiveness of a lyric soprano. The voice needs to convey deep emotions, as Violetta battles with her love for Alfredo and the societal pressures forcing her to leave him. This act demands a full, rich sound and the ability to express a range of emotions through the voice.
The final act presents Violetta in her most vulnerable state, stricken with illness and abandoned. In this act, the role calls for the power and depth of a dramatic soprano. The music requires a voice that can express profound sorrow and resignation, as in the aria “Addio del passato.” The dramatic weight of the music reflects Violetta's despair and fading strength.
Verdi's Mastery: In La traviata, Verdi not only pushes the boundaries of operatic storytelling but also provides a score that beautifully complements the narrative's emotional depth. This aria is a prime example, serving as a testament to Verdi's understanding of the human condition and his ability to translate it into music.
Grateful for your time and ears,
Michele
PS. Missed our last edition? We featured “Se come voi piccina io fossi,” an aria from Puccini's first opera Le Villi.
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Thanks for this post - I'd not thought before about the differing "voices" needed for the three acts. I've something to think about now when I next listen to Traviata.
In the types of music I share in community, we value the cracked note, the expressiveness of the human voice in its full range of sounds. Maybe not a philosophy that gets as much traction in opera and classical generally. thank you as always for the listening sample.