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Verdi,
La traviata
, “Libiamo, libiamo ne’ lieti calici”
Premiered in 1853 in Venice,
La traviata
(
The Woman
Who Has Gone Astray
) is certainly the most romantic
of Verdi’s operas, and the most beloved by the public.
Based on the play
La dame aux camélias
by Alexandre
Dumas
fils
, the opera premiered catastrophically in
Venice. It very quickly caught on, however, stunning
audiences with a contemporary realism very unusual
for the time. It also rapidly earned the affection
of sopranos everywhere, since Verdi created in
the courtesan Violetta Valéry probably the most
sympathetic and multifaceted heroine in Italian opera.
Every musical number in
La traviata
has long been a
familiar favorite – most of all the “brindisi” (drinking
song), which has had a life well beyond the opera
house, having become a regular soundtrack item in
any number of television commercials.
A party is in progress on an August evening
at Violetta’s Paris home. Gastone de Letorières
introduces her to Alfredo Germont, his friend from
the country, who has loved her from afar. When
Gastone encourages Alfredo to lead a drinking song,
the young man exhorts everyone to drink to beauty,
pleasure, and the joys of love, noting that Violetta’s
lovely eyes can pierce men to the heart. She then
gives her reply, declaring that she wishes to share
her own gaiety among all her friends and exhorting
everyone to enjoy love’s fleeting delights.
Puccini,
La bohème
, “Non sono in vena…Che
gelida manina…Mi chiamano Mimì…O soave
fanciulla”; Act II (complete)
La bohème
(1896), Puccini’s tale of young love in
1830s Paris, is considered by literally millions of
operagoers to be the most captivating work in the
entire repertoire. That view stems not only from the
irresistible central romantic couple, Rodolfo and Mimì,
but also their uproarious companions, the glorious
painting of the Parisian atmosphere through Puccini’s
exquisite orchestration, the superbly characterful set-
pieces for the protagonists (not to mention their two
heavenly duets), and above all, the sheer freshness of
Puccini’s melodic inspiration.
Midway in the opera’s first act, the poet
Rodolfo has just realized he is not in a writing mood
when a knock on the door reveals a lovely young
woman, asking if Rodolfo can light her candle. He
invites her in, but she is exhausted and faints. Rodolfo
revives her and offers wine. Once her candle is lit,
she leaves, only to return moments later – she has
dropped her key. A draft extinguishes her candle,
then Rodolfo’s, and the search is conducted in
darkness. Rodolfo finds and pockets the key without
informing his visitor. As both continue searching, their
hands touch. Rodolfo suggests they stop looking
until the moon provides better light. He tells her
he is a penniless poet whose dreams make him a
millionaire. The girl then reveals to him that her name
is Mimì – she is a seamstress who lives a quiet life
and looks forward to every spring.
Rodolfo’s friends’ voices rise from the street,
urging him to hurry. He shouts down that he will meet
them at Café Momus. Rodolfo then gazes ecstatically
at Mimì in the moonlight (Duet: “O soave fanciulla”).
He kisses her, but she shyly pulls away, reminding him
that his friends are waiting. When Rodolfo hesitates
to leave her, she suggests they go together.
In Act Two, a holiday crowd attends to last-
minute Christmas shopping. When the Bohemians
meet at the café, Rodolfo introduces his friends to
Mimì and she displays a bonnet he has bought for
her. The group orders some supper.
Musetta and her aged “protector,” Alcindoro,
arrive. Marcello avoids looking at Musetta, a former
flame with whom he had quarreled. She tries to
attract his attention by explaining to everyone
what a charmer she is. Determined to rid herself of
Alcindoro, Musetta pretends to have a painful shoe,
and sends the old man off to buy another pair. Her
reconciliation with Marcello is interrupted by the
arrival of the Bohemians’ bill. Musetta combines it
with hers, informing the waiters that Alcindoro will
pay both. The six friends join the rest of the crowd
following a military procession out of the square.
Returning with the shoes, poor Alcindoro is faced
with the bill.
—
Roger Pines
Dramaturg, Lyric Opera of Chicago