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Updated: June 29, 2025
I laughed when the gang of workmen rushed on to the stage as soon as the curtain came down, and began sweeping and taking down one set of furniture and putting on another; especially in the last act, when Violetta's bed came on and the men threw the pillows from one to the other, as if they were playing ball. They hung up a crucifix, which I thought was unnecessary, and brought in a candlestick.
A woman such as Violetta d'Isorella was of the sort from which Laura shrank with all her feminine power of loathing; but she spoke of her with some effort at personal tolerance until she heard of Violetta's stipulation for the deferring of Carlo's marriage, and contrived to guess that Carlo was reserved and unfamiliar with his betrothed. Then she cried out, "Fool that he is!
She really conceived that she was driving into Violetta's heart by the great high-road of feminine vanity. Violetta permitted her to think as she liked. "Your countrywomen, madame, do not make large allowances for beauty, I hear." "None at all. But they are so stiff! so frigid! I know one, a Miss Ford, now in Italy, who would not let me have a male friend, and a character, in conjunction."
Miss Violetta's a sweet saint, just like her ma, she is, an' her ma's a saint if there ever was one. Mr. Higgs, the verger, says that to see her pray that length of time on her knees after the service is over in church is a touching sight. 'But I don't think Miss Violetta is like her mother, said the curate. 'Well no, sir; now that you mention it, perhaps she's not at least, not in looks.
The act closes with a long duet between Violetta and Alfred, developing in the finale, by the entrance of Germont, to a very strong and dramatic trio. The third act opens in Violetta's chamber with a reminiscence of the introduction. In the next scene occurs the passionate duet with Alfred, "Parigi, o cara," which is a close copy of the final duet in "Trovatore" between Manrico and Azucena.
The menials lingered around the water-gate of Donna Violetta's palace with distrustful but cautious faces, scarce whispering among themselves their secret suspicions of the fate of their mistress. The residence of the Signor Gradenigo presented its usual gloomy magnificence, while the abode of Don Camillo Monforte betrayed no sign of the heavy disappointment which its master had sustained.
The plain girl with the broken voice began to get a hold on it, to master it. And the singer's voice even did not sound broken now; it had gained mellowness and strength. Alfredo made his entrance; Violetta's cry of happiness almost raised that storm in the audience known as fanatisme, beside which all the applause of our northern audiences is nothing.
Then she went away, leaving the curate to interpret her last remark as he chose. About a week after that there was a fine dinner given at the vicarage to welcome the curate into the family. The old squire was invited, but he refused to come. Violetta's mamma wrote and asked some of her relatives to come down from town.
Moore, who were both very rich. One was an old maid, and one was married to a dean she brought her husband. 'You see, said Violetta's mamma to the curate, 'our relatives are all either law or clergy. There were very grand preparations made for the dinner, and Mrs.
Violetta's acting became steadily better, and freer. She had thrown aside everything subsidiary, everything superfluous, and found herself; a rare, a lofty delight for an artist! She had suddenly crossed the limit, which it is impossible to define, beyond which is the abiding place of beauty. The audience was thrilled and astonished.
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