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The Royal Opera
Music Director Designate
Jakub Hrůša
Director of Opera
Oliver Mears

La traviata

Cast sheet

Thursday 19 September 2024

|

7pm

OPERA IN THREE ACTS
The 583rd performance by The Royal Opera at the Royal Opera House.
Please note that casting is subject to change up until the start of the performance. Please continue to check the website for the most up-to-date information.
Exceptional philanthropic support from

Royal Ballet and Opera Principal Julia Rausing Trust

Generous philanthropic support from

Professor Paul Cartledge and Judith Portrait OBE

Position of Head of Music Richard Hetherington generously supported by

Bertrand and Elisabeth Meunier

Approximate timings

The performance lasts approximately 3 hours 10 minutes, including two intervals
Act I
30 minutes
Interval
30 minutes
Act II
70 minutes
Interval
25 minutes
Act III
35 minutes
Credits

Music

Giuseppe Verdi

Libretto

after Alexandre Dumas fils’ play La Dame aux Camélias

Francesco Maria Piave

Conductor

Richard Hetherington

Director

Richard Eyre

Designer

Bob Crowley

Lighting designer

Jean Kalman

Director of movement

Jane Gibson

Cast

Violetta Valéry

Hrachuhí Bassénz

Alfredo Germont

Ismael Jordi

Giorgio Germont

Simon Keenlyside

Doctor Grenvil

Barnaby Rea

Annina

Veena Akama-Makia

Flora Bervoix

Jingwen Cai

Baron Douphol

Grisha Martirosyan

Gastone de Letorières

Ryan Vaughan Davies

Marquis D'Obigny

Ossian Huskinson

Giuseppe

Luke Price

Messenger

Thomas Barnard

Servant

John Morrissey

Principal Guest Concert Master

Vasko Vassilev

Children

Evelyn Rose Rata, Anastasiya Hristova

Actors

Peter Cooney, Dana Myzer, Richard Gittins, Paulo Lopes, Harold Addo, Vidal Sancho

Dancers

Fabrizio Amanajas, Andrew Ashton, Rain de Rye Barrett, Natasha Moss, Laura Boulter, Stefanos Dimoulas, Nicholas James, Simon Jaymes, Mark Joslin, Bless Klepcharek, Claudia Mia, David Murley, Eduardo Nunez, Paula Puga, Laura Canela Queralt, Leticia Sanchez, Josie Sinnadurai, Vlad Troncea, Robert Wilkes

Veena Akama-Makia, Jingwen Cai, Grisha Martirosyan, Ryan Vaughan Davies and Ossian Huskinson are Jette Parker Artists
Chorus and Orchestra

Chorus

Royal Opera Chorus

Chorus Director

William Spaulding

Chorus Master

Genevieve Ellis

Orchestra

Orchestra of the Royal Opera House

Extra Chorus

Sopranos

Rebecca Goulden, Rosalind Waters, Kathryn Jenkin, Vanessa Woodfine

Mezzo-sopranos

Jeanette Ager, Clare McCaldin, Zoë Haydn

Tenors

Simon Biazeck, Andrew Busher, Andrew Mackenzie-Wicks

Basses

Oliver Gibbs, Gavin Horsley

Production credits

Music preparation

Richard Hetherington, Ben-San Lau, Leanne Singh-Levett, Edward Reeve, David Sutton-Anderson

Assistant Director

Ruth Knight

Assistant to the Movement Director

Paula Puga

Language coach

Isabella Radcliffe

Additional costumes

Emma Jealouse, Ian Costello, Nicholas Lynne, Amedine Bello, Annette Herold

Audio Description

Julia Grundy, Jonathan Nash

Patron

HM The King

Music Director Designate

Jakub Hrůša

Director of Opera

Oliver Mears

Director of Casting

Peter Mario Katona

Administrative Director

Cormac Simms

Violetta is a well-known Parisian courtesan. At one of her parties, her guest Gastone introduces her to Alfredo Ger...

ACT I

A SALON IN VIOLETTA’S HOUSE; AUGUST

Violetta is a well-known Parisian courtesan. At one of her parties, her guest Gastone introduces her to Alfredo Germont. Alfredo and Violetta sing together in praise of wine and pleasure. Violetta invites her guests to dance, but suddenly feels unwell – she is seriously ill with tuberculosis. The guests go on without her, but Alfredo stays behind. He tells Violetta that he is in love with her, and offers to take care of her. The guests leave. Alone, Violetta realizes she is attracted to Alfredo, but in her situation thinks she can only expect to live for pleasure. Her resolve wavers when she hears Alfredo outside.

INTERVAL

ACT II

A COUNTRY HOUSE NEAR PARIS; THE FOLLOWING JANUARY

Alfredo and Violetta have been living together for three months. Alfredo learns from Violetta’s maid Annina that Violetta has been selling her possessions to pay their bills. He leaves for Paris to raise more funds himself. Violetta receives an unexpected visit from Alfredo’s father, Giorgio Germont. His daughter’s forthcoming marriage is threatened by the scandal of Violetta’s affair with Alfredo. He asks Violetta to give up his son. She reluctantly agrees to leave Alfredo, but begs Germont to comfort his son after she has gone. Germont departs, praising her courage. Alfredo returns and after Violetta begs him to always love her, she goes out. A messenger brings Alfredo a note from Violetta, saying that she has left him. Germont returns to comfort his son and beg him to come back to the family home. Alfredo, who doesn’t know all that has happened, decides to follow Violetta to Paris.

A SALON IN FLORA’S HOUSE

Guests gossip, dance and play cards at an elegant party given by Violetta’s friend Flora Bervoix. Alfredo arrives and gambles recklessly. Violetta and her new protector Baron Douphol arrive, which provokes Alfredo to challenge the Baron to a game of cards. Alfredo wins. Violetta asks to see Alfredo alone. When she refuses to leave with him, he summons the other guests, and throws his winnings at her as payment for their life together. Germont arrives and denounces his son’s insulting behaviour, and the Baron challenges Alfredo to a duel.

INTERVAL

ACT III

VIOLETTA’S BEDROOM: FEBRUARY

Violetta is dying. She sends Annina to watch the Carnival festivities, and re-reads a letter in which Germont tells her that Alfredo now knows the truth about her sacrifice and will come to her. To Violetta’s joy, Alfredo arrives with Annina. Violetta and Alfredo excitedly plan a new life together away from Paris. But they realize that their plans are in vain: Violetta is too ill to recover. With Alfredo, his father, Annina and Doctor Grenvil in attendance, Violetta resigns herself to death. A sudden rush of life convinces her she has recovered, but it is a symptom of the final stage of her illness. She collapses dead in Alfredo’s arms.

Guidance

Suitable for all, subject to House rules
Children under the age of five are not permitted into our theatres. Children over age five must have their own ticket and sit next to an accompanying adult.

Language

Sung in Italian with English surtitles. Captions and translations in English will be displayed on screens above the stage and around the auditorium. Some performances also include Captions that give more details about the sound.
Further information

We are working hard on our commitment towards becoming more sustainable and are striving for our net zero goal of 2035. By using digital cast sheets and e-tickets, we have reduced our paper consumption by over five tonnes per year. You can view our digital cast sheets on a computer, tablet or smartphone by scanning the QR codes displayed around the building using your smartphone’s camera app. They are also displayed on screens outside the auditoria. Cast sheets are generously supported by the Royal Opera House Endowment Fund.

Photography and filming are prohibited during performances in any of our auditoriums. You are welcome to take pictures throughout the rest of the  building and before performances and share them with us through social media. Commercial photography and filming must be agreed in advance with our press team.

Larger bags and backpacks need to be check into our complimentary cloakrooms. Unattended bags may be removed.

Please do not place any personal belongings on the ledges in front of you. Mobile phones should be turned off and stored away safely during performances.

Only bottled water and ice cream purchased from the premises can be taken into the auditorium.

If you arrive late to the auditorium or leave during a performance, you will not be allowed back to your seat until the interval or a suitable break.

Smoking and vaping are not permitted anywhere on the premises.

The safety of our visitors, staff and artists is our priority. To help us provide a comfortable experience for everyone, please be mindful of others and their personal space.

Our staff are committed to treating everyone with dignity and respect and we ask that you show them and your fellow audience members respect too. We adopt a zero-tolerance approach in response to anyone who interacts with our staff or with fellow audience members in an intimidating, aggressive or threatening manner.

We rely on your support to make world-class ballet and opera for everyone. With your donations we can ensure a bright future for the Royal Ballet and Opera, bringing communities together and inspiring future generations up and down the country.

For people, not profit.

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