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Schedule - Deutsche Oper Berlin

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La traviata

Giuseppe Verdi (1813 – 1901)

05
Thursday
June
19:30 - 22:15
B prices: € 92.00 / 72.00 / 52.00 / 32.00 / 24.00
Buy tickets
Information about the work

Melodramma in 3 acts
Libretto by Francesco Maria Piave based on the novelle
„La dame aux camélias“ by Alexandre Dumas fils
First performed on 6. March, 1853 in Venice
Premiered at the Deutsche Oper Berlin on 20. November, 1999

2 hrs 45 mins / 1 interval

In Italian with German and English surtitles

Pre-performance lecture (in German): 45 minutes prior to each performance

recommended from 13 years
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Cast
05
Thursday
June
19:30 - 22:15
B prices: € 92.00 / 72.00 / 52.00 / 32.00 / 24.00
Buy tickets
Cast
the content

About the work
Violetta Valery, living in kept splendour at the expense of Baron Douphol, has apparently recovered from a serious illness. To celebrate, she throws a party where she meets and falls for Alfredo Germont. As their love for each other is frowned upon, they set up house outside of Paris. Alfredo’s father insists that she break with his son in order not to jeopardise the marriage prospects of Alfredo’s sister. Violetta accedes to his wish and cuts off relations. In a showdown at another party Violetta tries to convince Alfredo that she’s in love with the Baron, causing Alfredo to hurl his gambling winnings at her feet, calling them “fees for services rendered”. Soon afterwards, at the height of the Paris carnival, Violetta is on her deathbed. She receives Alfredo, who has heard from his father her real reason for leaving him. Violetta forgives him, gives him her blessing and dies.

Verdi’s only opera to be set in middle-class circles of mid-nineteenth-century Paris was based on “La dame aux camélias”, an acclaimed novel by Alexandre Dumas fils. The novel referenced the death of Marie Duplessis, a 23-year-old courtesan, from TB on 3rd February 1847 as the occasion for a critical study of the Parisian demi-monde. Where Dumas’s main characters form part of a tight social network, Verdi and librettist Francesco Maria Piave eliminate anything that isn’t directly linked to the clashes between Violetta, Alfredo and father, Giorgio Germont. This drama of interior emotions focuses on the three stations on Violetta’a via: love, renunciation and death.


About the production
Götz Friedrich gave the opera the tragic slant of a requiem by telling Violetta’s story in the form of flashbacks, which begin with the prelude presenting Violetta lying on a white deathbed on a stark stage that resembles a massive tomb. She rises from the bed (which promptly becomes a chaise longue), pulls on a ballroom gown and turns to receive Paris’s party people disgorging into the room. The tale is unsentimentally staged, with no hint of trivial directness. The focus is on the drama’s interiority and the atmosphere of death and doom.

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05
DEC

Adventskalender in der Tischlerei: Das 5. Fensterchen

Today in the Tischlerei: ‘Rossini, Liszt and more’
with Kangyoon Shine Lee (tenor) and Songyeon Catarina Kim (piano)
5pm / Tischlerei
Duration: approx. 25 minutes / free admission


The evening begins with musical declarations of love: love is illuminated in all its facets – from the idealised, the yearning to the devoted and the melancholy – in three songs by Franz Liszt and an aria from Rossini's IL BARBIERE DI SIVIGLIA. Franz Liszt's ‘Enfant, si j'etais roi’ (‘Child, if I were king’) and ‘Oh! Quand je dors’ (‘Oh! When I sleep’) are settings of poems by Victor Hugo. In the first, the beloved is given everything imaginable – but it can never be enough. The second poem describes a nocturnal vision of the beloved, who appears like an angel, kisses the sleeping person and fills them with heavenly love. Liszt's ‘Liebestraum Nr. 3’ (‘Oh dear, as long as you can love’) is one of a series of three songs that Liszt later arranged in a purely instrumental form and which became emblematic of romantic piano music. The original text was written by Ferdinand Freiligrath and deals with the transience of love and the resulting need to cherish and cultivate it in the here and now. You will hear the Korean pianist Songyeon Catarina Kim at the piano. She then lovingly accompanies our ensemble member Kangyoon Shine Lee in an aria that he will sing again on our main stage from 31 March 2025, when he takes on the role of Count Almaviva in Katharina Thalbach's production of Rossini's IL BARBIERE DI SIVIGLIA: the cavatina ‘Ecco, ridente in cielo’. In it, Almaviva sings about the beauty of the morning and his ardent love for Rosina – it is a lyrical and romantic beginning to an otherwise predominantly comedic opera. It is followed by the song ‘La danza’ from Rossini's collection of songs ‘Les soirées musicales’, published about 20 years later, which describes the joyful hustle and bustle of a Neapolitan festival. The musical basis for this song is the tarantella, a fast, rhythmic folk dance from southern Italy. The programme will conclude with a contemplative Christmas favourite, ‘O Holy Night’.

Lyric tenor Kangyoon Shine Lee was born in Seoul. He first graduated from the Korea National University of Arts before studying with Kammersänger Prof. Roman Trekel at the Hanns Eisler School of Music Berlin from 2022. In 2021, Kangyoon Shine Lee won the Belvedere Competition and received an engagement at the Deutsche Oper Berlin. He made his house debut on 27 December 2022 as Almaviva in Rossini's IL BARBIERE DI SIVIGLIA and also sang in DAS WUNDER DER HELIANE. In the 2024/25 season, he will be part of the ensemble here at the theatre and can be heard in roles such as Tamino in Mozart's MAGIC FLUTE and the children's version THE FAIRY TALE OF THE MAGIC FLUTE, as Count von Lerma / DON CARLO, Cavalier Belfiore / IL VIAGGIO A REIMS, Malcolm / MACBETH, Walther von der Vogelweide / TANNHÄUSER and Pang / TURANDOT.

The South Korean pianist Songyeon Catarina Kim studied piano at Kyunghee University in Seoul. She has won numerous Korean and international competitions. Since 2021, she has been studying Lied interpretation with Prof. Wolfram Rieger at the Hanns Eisler School of Music Berlin. She is currently studying chamber music with Prof. Wolfram Rieger as part of her concert exam. During her studies, she was a répétiteur in lessons with KS Prof. Roman Trekel, Prof. Anna Korondi, KS Prof. Ewa Wolak, Prof. Martin Bruns and Prof. Christine Schäfer, as well as a répétiteur in masterclasses with KS Brigitte Fassbaender and KS Prof. Thomas Quasthoff. She has also worked as a répétiteur for scenic instruction at the Immling Festival, the Darmstadt Theatre and the Erfurt Theatre. In the 2024/25 season, she will work as a répétiteur at IMMMERMEEEHR at the Deutsche Oper Berlin.