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Updated: April 30, 2025
Verdi, with his 'Traviata, has transported this chamber-music on to the stage, to which the subject he has chosen still lends itself, and with happy success.
These things outweigh a thousand times the glittering tinsel of the opera and give "Traviata" a merited place, not only beside the later creations of the composer, but among those latter-day works which we call lyric dramas to distinguish them from those which we still call operas, with commiserating emphasis on the word.
I had toddled along breathlessly in the trail made by his seven-league boots during the last thirty-five years of his career; but as I listened I found myself wondering that I had not noticed before that his modernity had begun before I had commenced to realize even what maternity meant more than half a century ago, for "La Traviata" was composed in 1853.
She was running through the scores of the standard operas "La Traviata," "Il Trovatore," "Martha" but as the week wore along she stopped singing again and Denver saw her down among the sycamores.
One of Verdi's poetic assistants was Francesco Piave, who supplied the verses for "La Traviata," "Ernani" and several other of his operas. A question having arisen some years ago, as to the origin of the libretto of "Aida," the author of it, M. du Locle, wrote to a Roman paper that the first idea of the poem belongs to the celebrated Egyptologist, Mariette Bey.
He hit the wheel again and shook his head, but the angel wouldn't let him alone. "Do it now," he told himself. "Do it now. While you can." Could he? Yes if he kept going. The truth kept blowing through him. He couldn't have continued, otherwise. He bounced to a stop in front of his house, went inside, turned on all the lights, and played La Traviata at top volume.
An American, born in Farmington, Me., Lillian Nordica pursued her vocal and musical studies at the New England Conservatory, in Boston, and after much experience in church, concert and oratorio singing, studied for the opera in Milan, under Signor Sangiovanni. She made her operatic début at Brescia in "Traviata," and in Paris as Marguerite, in "Faust."
While the charmingly sincere young man pleaded with her accompanied by the orchestra in the old 'Traviata' duet, 'misterioso, misterios' altero! she maintained her bitter scepticism, and the curtain fell on her dancing recklessly with the others, after Armand had been sent away with his flower. Between the acts we had no time to forget.
She had sent me a box, in Vienna it was I think, for the Traviata. She was fat then, or rather, fatter. Stage furniture leaves something to desire in the way of solidity. In the death scene the middle of the bed collapsed. Her swan-song ceased abruptly. Her head and heels were in the air, and the very largest rest of her upon the floor, bed and bedclothes standing out in a frill all around.
For a great rôle like the Somnambula or Traviata, I must spend three or four years, perhaps more, in preparation, before bringing it to public performance. It takes a long time to master thoroughly an operatic rôle, to work it out from all sides, the singing, the acting, the characterization. To the lay mind, if you can sing, you can easily act a part and also memorize it.
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