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#Violetta Valéry
opera-ghosts · 1 month
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Exactly 109 years ago at the The Metropolitan Opera. Frieda Hempel in Verdi's “La Traviata” and a great cast.
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malusienki · 10 months
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miss violetta !!! based off lisette-at-philly-2015 :)
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elucubrare · 1 year
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aw fuck i'm crying at traviata again, it's been so long
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costumeinperformance · 6 months
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Costume worn by Teresa Stratas as Violetta Valéry in Franco Zeffirelli's "La Traviata" (1983) designed by Piero Tosi, made by Sartoria Tirelli
from Tirelli's archives.
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vintagestagehotties · 10 days
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Hot Vintage Stage Actress Round 1
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Vivien Leigh: Titania in A Midsummer Night's Dream (1937 Old Vic); Juliet in Romeo and Juliet (1940 Broadway); Sabina in The Skin of Our Teeth (1945 West End); Blanche DuBois in A Streetcar Named Desire (1949 West End); Grand Duchess Tatania I in Tovarich (1963 Broadway)
Bidu Sayão: Juliette in Roméo et Juliette (1931 Paris); Manon Lescaut in Manon (1937 Met); Violetta Valéry in La Traviata (1937 Met)
Propaganda under the cut
Vivien Leigh:
It killlllssss me that she was never offered the title of Dame. In my head and heart she will always be Dame Vivien Leigh
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Bidu Sayão:
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awindinthelantern · 7 months
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Costume for Ganna Walska as Violetta Valéry, 'La Traviata', 1923
Redfern (English, London, circa 1855-1929) & Erté (Romain de Tirtoff) (Russian, active France and United States, 1892-1990)
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shcherbatskya · 6 months
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in my beautiful mind christine is sort of like Violetta Valéry if she did not have consumption and wasn’t pressured into breaking up with her lover….
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loosealcina · 21 days
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GIUSEPPE VERDI'S SIMON BOCCANEGRA AT LA SCALA, FEBRUARY 24, 2024
Where do we start when we talk about Simon Boccanegra? Let’s see… Spanish dramatist Antonio García Gutiérrez maybe? Two plays of his—El trovador (1836) and Simón Bocanegra (1843)—were adapted by Giuseppe Verdi into operas. (While Friedrich Schiller is the record holder at four [followed by William Shakespeare at three], two is a respectable tally that puts Gutiérrez in a class with Lord Byron and Victor Hugo). You can spot similarities between Il trovatore (1853) and Simon Boccanegra (1857 and 1881), yet it’s the differences that seem to prevail; I’d say the absence of the quasi-absurdist flair of Il trovatore (you can ignore the word quasi if you want) and the relative scarcity of female characters give Simon Boccanegra a decidedly severe feel. Another popular topic would be the whole revision affair. (You may have noticed I’ve mentioned two years instead of one a moment ago). In short: after a good twenty years, Verdi decided Simon Boccanegra should have a second chance (that’s to say, an extensive overhaul). And the second/final version of this work kicked off the Giuseppe Verdi/Arrigo Boito collaboration—a somewhat unlikely match that eventually gave the world two absolute gems in Otello (1887; when the composer was 73) and Falstaff (1893; the composer was 79). Closing in on today’s news, this specific Boccanegra made for a rather frustrating experience. It was as though Daniele Abbado’s staging—as unimaginative and flat as it possibly gets—had been meant to place a sturdy barricade, or perhaps a bulkhead between us the audience and Simon Boccanegra itself.
It was watertight, I promise, and virtually unbreachable, so I can offer you but two observations. First, the orchestra conducted by Lorenzo Viotti didn’t appear to follow the most usual/predictable path as far as Verdi is concerned. Several passages—I’m thinking of violins, double basses, harp, and bird-like woodwinds—would present a glossy, glimmering surface that was truly reminiscent of symbolist painting; was it a revision of the revision, this time devised and crafted by Claude Debussy or Nikolaj Rimskij-Korsakov? Second, my favorite actors/singers of the night were Matteo Lippi and Irina Lungu in the roles of Gabriele Adorno (a young patrician who has joined a plot to overthrow the Doge of Genoa) and his love interest Amelia (whose real name is Maria, who is actually the Doge’s lost daughter but she doesn’t know it, etc.). They qualify as the extremely rare Verdian lovers who end up alive and well (and still together) when the last notes are played and the curtain is about to come down. I suspect these happy circumstances put a dent in their prestige (that’s essentially the way this kind of opera works); nevertheless, their voices were remarkably clean and elegant. While their respective solo bits (most notably, Amelia’s «Come in quest’ora bruna/sorridon gli astri e il mare!» [Act I] and Gabriele’s «O inferno!… Amelia qui!… Sento avvampar nell’anima» [Act II]) managed to be poignant without a trace of pomposity (or stiffness), when they sang together they reminded me a lot of Violetta Valéry and Alfredo Germont—one of those fugitive moments of happiness and hope they revel in before it’s too late.
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minitravellers · 4 months
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Review, La Traviata UK Tour 2024 Manchester
The ethereal melodies of Giuseppe Verdi’s timeless opera, “La Traviata,” graced the stage at the Opera House in Manchester last night. Against the backdrop of this historic venue, we were transported into the compelling world of Violetta Valéry, as her tragic love story unfolded. With breathtaking arias and emotional intensity. Sit back and enjoy our review of this glorious opera that has the…
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opera-ghosts · 2 years
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This Original Photo show the famous Soprano ELISABETH SCHWARZKOPF (1915-2006) in Traviata at Stadttheater Bern, she sang there in a Gala 1948. 
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malusienki · 6 months
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“yet the light of a whole life dies when a love is done” - francis william bourdillon’s “the night has a thousand eyes”
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julienpoulidor · 25 years
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Janet Jackson as Cleopatra; Britney Spears as Violetta Valéry, 1999 MTV Video Music Awards Promotion. Music. USA.
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joansutherlandfan · 2 years
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Thanks God it's Friday!!! Follie time! Raise your glass and tin tin. 🥂 • Joan Sutherland as Violetta Valéry from Verdi's La Traviata. MetOpera 1964. • #Opera #ClassicalMusic #BelCanto #Baroque #OperaSinger #InstaOpera • #Dramatic #Coloratura #Soprano #Dame #JoanSutherland #LaStupenda #Diva #PrimaDonna #Legend • #Composer #GiuseppeVerdi #LaTraviata • #Concert #Recital • #Costume #Stage #OperaHouse • #ROH #LaScala #MetOpera #SydneyOperaHouse  • #1960s https://www.instagram.com/p/Cg4bR2-ulKC/?igshid=NGJjMDIxMWI=
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downtobaker · 2 years
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Marguerite Gautier, Marie Duplessis, Violetta Valéry, tre donne una sola anima
Marguerite Gautier, Marie Duplessis, Violetta Valéry, tre donne una sola anima
di Oscar Nicodemo La signora delle camelie interpretata da Francesca Neri Marguerite Gautier, Marie Duplessis, Violetta Valéry, tre donne che ne sono una sola, plasmata da uno stupefacente intreccio di nuance, di vita reale, letteratura e opera lirica: “La signora delle camelie”. Viene fuori, dunque, dai risvolti sregolati dell’esistenza, le pagine intense del racconto e le note avvolgenti…
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Christine Nilsson as Violetta in Opera La Traviata by Giuseppe Verdi, 1864. Photo by Pierre Petit
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