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Giuseppe Verdi based his famous opera on the novel “The Lady of the Camellias” by Alexandre Dumas. Robert Wilson’s production of Violetta Valéry’s tragic fate is his first work at the State Theater of Linz, Austria, one of the most modern operatic stages in Europe by architect Terry Pawson. After the run in Linz, the production was transferred to the Opera House in Perm, Russia, where the production was conducted by Teodor Currentzis. In 2017, the work received a “Golden Mask”, the most prestigious Russian theater award, in three categories (Teodor Currentzis, Best Conductor; Nadezhda Pavlova, Best Female Singer; Robert Wilson, Best Lighting Design).

Alfredo, a young man from the provinces, falls in love with Violetta, the stylish toast of Paris. But she’s not the marrying kind – at least not until now. However, their dreams are threatened by both a merciless society that condemns Violetta’s racy past and an equally merciless disease. Russian soprano Venera Gimadieva portrays the iconic role of Violetta, alongside American tenor Michael Fabiano as Alfredo. The visual beauty of Tom Cairns’s opulent production aptly echoes the irresistible allure of this beloved opera.

This DVD of a live 2005 performance from the Zürich Opera under the musical direction of Franz Welser-Möst has many things to recommend it -- the young tenor Piotr Beczala as Alfredo, the marvelous Thomas Hampson as Giorgio Germont, the playing of the Zurich Opera orchestra, the simple but effective sets by by Erich Wonder, the uncluttered stage direction by Jürgen Flimm. It also has some flaws: strangely variable volume level of the recorded sound sometimes coming on so loud as to make one reach for the volume control, and the uneven performance of the Violetta, Eva Mei who, for all her merits, gives a dramatically effective performance marred by occasional difficulties with vocal production. Still, overall I felt this was a moving production, one that I would recommend, although perhaps not as an only DVD of one of Verdi's most popular operas.

In Benoît Jacquot’s production, Manet’s Olympia dominates the stage of the Opéra Bastille. In 1863, the painting caused a scandal: the prostitute awaits her client, her expression proud, her demeanour assured. Is this Violetta? Like Olympia, Verdi’s most celebrated heroine surrenders to the spectator just as she surrenders to love, going so far as to die on stage, a woman’s ultimate sacrifice for her lover. Or might it be the spectator who strips her bare and intrudes upon her privacy, in the image of this milieu of social voyeurism? Whatever the case, these two women regard us with defiance and subjugate those who cannot help but look at them.

The bleak, enclosed world of a fishing village provides the backdrop for the story of fisherman Peter Grimes and his uneasy relationship with the other inhabitants. Following the death of Grimes's apprentice, the community presumes Grimes to be guilty. Although he is cleared of any blame, the villagers no longer trust him, and when his new apprentice accidentally falls to his death, Grimes spirals towards a tragic breakdown.

La Traviata’s sumptuous melodies and timeless depiction of doomed love have made the work a favorite of generations of operagoers. In his approach to this classic drama, director Willy Decker sets the action on a nearly bare stage, focusing the audience’s full attention on the three main characters. As Violetta, the ailing courtesan desperate to escape her past, soprano Sonya Yoncheva offers a fearless and sympathetic performance from beginning to end. American tenor Michael Fabiano sings with ardent longing as her devoted lover Alfredo, delivering emotionally wrought phrases and ringing top notes. Thomas Hampson brings a burnished baritone to Germont, Alfredo’s protective father whose stern demands spell disaster for the young couple. On the podium, maestro Nicola Luisotti leads an electric performance of Verdi’s unforgettable score.

Any new Met production of Verdi’s beloved tragedy La Traviata would be noteworthy, but Michael Mayer’s dazzling staging, which premiered during the 2018–19 season, was doubly significant as it marked Yannick Nézet-Séguin’s first performances as the Met’s Jeanette Lerman-Neubauer Music Director. On the podium for this Live in HD transmission, Nézet-Séguin leads a starry ensemble. As Violetta, the consumptive heroine fighting to find true happiness, soprano Diana Damrau delivers yet another compelling portrayal on the Met stage. Tenor Juan Diego Flórez sings his first Verdi role with the company, as Violetta’s ardent yet impetuous lover, Alfredo, and baritone Quinn Kelsey rounds out the principal cast as Giorgio Germont, Alfredo’s implacable father.

Soprano Nadine Sierra stars as the self-sacrificing courtesan Violetta—one of opera’s ultimate heroines—in Michael Mayer’s vibrant production of Verdi’s beloved tragedy. Tenor Stephen Costello is her lover Alfredo, alongside baritone Luca Salsi as his disapproving father and Maestro Daniele Callegari on the podium.

Alfredo Germont and the courtesan Violetta Valéry fall in love at a party in Violetta's Paris salon. Alfredo is determined to cure Violetta of her tuberculosis, and the couple leave Paris and begin a contented life in the country. But Violetta's happiness is destroyed when Alfredo's father Giorgio Germont pays her a visit. Richard Eyre's stunning naturalistic production contrasts the superficial glamour of 19th-century Parisian high life with intimate scenes for Violetta with Alfredo and Giorgio Germont, culminating in the heart-breaking final act.