2 hours, 50 minutes total (Act I: 35 min., Act II: 65 min., Act III: 35 min.)
20-minute intermission after Act I, 15-minute intermission after Act II.
Sung in Italian with English surtitles
La Fenice opera house in Venice on the 6 March 1853
Refreshment Bar available
Dressy-Casual to Come As You Are
Infused with some of the world’s most beautiful and well-known music, La Traviata relates the story of a tragic love, played against the hypocrisy of upper-class fashionable society.
As Alfredo and Violetta’s relationship threatens to shame his family, his father directly appeals to her to relinquish her only chance of happiness. Violetta submits, and her act of self-sacrifice leads to her paying the ultimate price.
La Traviata is one of the most popular operas in the classic repertoire, receiving hundreds of performances every season worldwide. Who can resist the heart-tugging story of Violetta, "Lady of the Camellias," that is a star vehicle for a leading soprano. We are so fortunate to have Cecilia Violetta Lopez returning to Opera Las Vegas in her signature role which has garnered widespread acclaim.
Audiences get a chance to laugh, love and weep along with Violetta at performances of La Traviata at UNLV’s Judy Bayley Theatre on 9 and 11 June 2023. Tissues not provided.
Portrait of Giuseppe Verdi by Giovanni Boldini, 1886
Giuseppe Fortunino Francesco Verdi (Italian: [dʒuˈzɛppe ˈverdi]; 9 or 10 October 1813 – 27 January 1901) was an Italian composer best known for his operas. He was born near Busseto to a provincial family of moderate means, receiving a musical education with the help of a local patron. Verdi came to dominate the Italian opera scene after the era of Gioachino Rossini, Gaetano Donizetti, and Vincenzo Bellini, whose works significantly influenced him.
In his early operas, Verdi demonstrated a sympathy with the Risorgimento movement which sought the unification of Italy. He also participated briefly as an elected politician. The chorus "Va, pensiero" from his early opera Nabucco (1842), and similar choruses in later operas, were much in the spirit of the unification movement, and the composer himself became esteemed as a representative of these ideals. An intensely private person, Verdi did not seek to ingratiate himself with popular movements. As he became professionally successful, he was able to reduce his operatic workload and sought to establish himself as a landowner in his native region. He surprised the musical world by returning, after his success with the opera Aida (1871), with three late masterpieces: his Requiem (1874), and the operas Otello (1887) and Falstaff (1893).
His operas remain extremely popular, especially the three peaks of his 'middle period': Rigoletto, Il trovatore and La traviata. The bicentenary of his birth in 2013 was widely celebrated in broadcasts and performances.
Read more from Wikipedia.
Piave's career spanned over twenty years working with many of the significant composers of his day, including Giovanni Pacini (four librettos), Saverio Mercadante (at least one), Federico Ricci, and even one for Michael Balfe. He is most well known as Giuseppe Verdi's librettist, for whom he was to write 10 librettos, the most well-known being those for Rigoletto and La traviata.
But Piave was not only a librettist: he was a journalist and translator in addition to being the resident poet and stage manager at La Fenice in Venice where he first encountered Verdi. Later, Verdi was helpful in securing him the same position at La Scala in Milan. His expertise as a stage manager and his tact as a negotiator served Verdi very well, but the composer bullied him mercilessly for his pains over many years.
Like Verdi, Piave was an ardent Italian patriot, and in 1848, during Milan's "Cinque Giornate," when Radetzky's Austrian troops retreated from the city, Verdi wrote to Piave in Venice addressing him as "Citizen Piave."
Together, they worked on ten operas between 1844 and 1862, and Piave would have also prepared the libretto for Aida when Verdi accepted the commission for it in 1870, had he not suffered a stroke which left him paralyzed and unable to speak. Verdi helped to support his wife and daughter, proposing that "an album of pieces by famous composers be compiled and sold for Piave's benefit". The composer paid for his funeral when he died nine years later in Milan aged 65 and arranged for his burial at the Monumental Cemetery.
Read more at Wikipedia.
Celebrated soprano, Cecilia Violetta López, has been named one of “Idaho’s Top 10 Most Influential Women of the Century” by USA Today and has been named one of opera’s “25 Rising Stars” by Opera News. The singing actress is constantly praised for her “alluring voice and incredible range” (Washington Post).
She has received accolades for her signature role of Violetta in La traviata, which she has performed countless times throughout North America. Critic, James Jorden, exclaimed “she is a Violetta fully- formed and, I think, ready for the great stages of the world.” She has now performed the role with Minnesota Opera, Opera Colorado, Opera Tampa, Opera Idaho, Ash Lawn Opera, The Northern Lights Music Festival, Madison Opera, Pacific Symphony and Virginia Opera. Ms. López made her European début as Norina in Don Pasquale with Zomeropera in Belgium, for which Klassiek Centraal exclaimed: “She turns out to be the revelation of the show and wins over the audience with her funny rendition, irresistible charm, and [she is] natural in the different vocals.”
From her performance as Adina in The Elixir of Love with Virginia Opera, The Virginian- Pilot hailed, “Cecilia Violetta López is showing local audiences why Opera News named her one of its ’25 Rising Stars.’ In the lead role of Adina, she hit the highest notes with ringing clarity, performed the vocal runs with precision and grace and showed a particular charm and humanity in the softest passages and lowest ranges.” In her recent performance as Marguerite in Faust with Opera Omaha, the Omaha World-Herald claimed “...López sang Marguerite’s seduction, madness and salvation with an other wordly wisdom and artistry.”
Despite the halting effects of COVID-19 in the opera industry, Ms. López’ 2020-2021 has included both virtual and live recitals with Opera Idaho, Opera Las Vegas, Austin Opera, Opera Southwest, Chatter ABQ, and Madison Opera. Ms. López made her company debut with Pacific Symphony as Violetta in their 90 minute version of La traviata, and Ms. López will also be the featured soprano soloist in the world premier of Mi Camino, a virtual project with Opera Cultura. Cecilia will also return to Opera Colorado as a soprano soloist in Canciones de Nuestras Tierras: a live, outdoor performance.
Tenor Christopher Bozeka is quickly becoming recognized for his “expressively captivating” performances, as well as his “beautiful, piercing tone” (San Francisco Chronicle). In 2021, Mr. Bozeka made his Opera Outdoors Houston debut as the tenor soloist in Rossini’s Petite Messe Solennelle, was scheduled to make his Sarasota Opera debut as Nadir in Les pêcheurs de perles (COVID19), returned to Houston Grand Opera for holiday concerts, and rejoined Opera Las Vegas as Ernesto in Don Pasquale. He also made his Sarasota Opera debut as Bertrando in L’inganno felice and Florville in Il Signor Bruschino, both by Rossini. During the summer of 2021, Mr. Bozeka will return to Wolf Trap Opera to sing Adolfo Pirelli in Sweeney Todd, Satyavan in Holst’s Savtiri, and Le Prince Charmant in Viardot’s Cendrillon. During the 2021-22 season, Mr. Bozeka will join the roster of the Metropolitan Opera covering Triquet in Eugene Onegin and Pit Singer – Tenor 1 and 2 in Dean’s Hamlet, perform as the tenor soloist in the world premiere of Two Streams with the Houston Chamber Choir and Kinetic Orchestra, sing the role of Dorville in Rossini’s La scala di seta at Sarasota Opera, reprise the role of Count Almaviva in Il barbiere di Siviglia with Opera Delaware/Baltimore Concert Opera, joins Opera Southwest for their NYE gala and in the fall of 2022, he will make his debut with Livermore Valley Opera as Nemorino in L’elisir d’amore and in 2023, he returns to Houston Grand Opera, singing Fourth Jew in Salome.
In the 2019-20 season, Mr. Bozeka performed with Houston Grand Opera as Don Gaspar in La favorite and the Messenger in Aida, sang Nadir in the American Premiere of Bottesini’s Ali Baba with Opera Southwest, and appeared in a virtual broadcast as a soloist in Bach repertoire with Ars Lyrica Houston. In the summer of 2020, he returned to Wolf Trap Opera where he appeared in a virtual broadcast as Tom Rakewell in scenes from Igor Stravinsky’s A Rake’s Progress.
In the 2018-19 season, Mr. Bozeka debuted with Wolf Trap Opera as Count Almaviva in Il barbiere di Siviglia and with Opera Las Vegas as Nemorino and sang as the tenor soloist in Beethoven’s Symphony No. 9 with New Albany Symphony Orchestra. His 2017-18 engagements included Tamino in Die Zauberflöte with Opera Theatre of St. Louis, Adolfo Pirelli in Sweeney Todd with Atlanta Opera, Evandro in Giovanni Simone Mayr's Medea in Corinto with Teatro Nuovo, Rinuccio in Gianni Schicchi with Opera Project Columbus, and soloist in Britten’s Serenade for Tenor, Horn and Strings with Kinetic Ensemble. In the 2016-17 season, Mr. Bozeka returned to Houston Grand Opera as Nemorino in L’elisir d’amore and Pedrillo in Die Entführung aus dem Serail. He also debuted with Opera Columbus as Pedrillo, Albany Symphony Orchestra as the tenor soloist in Beethoven’s Symphony No. 9, and Musical Bridges Around the World San Antonio as a soloist in a Mozart Opera Gala.
During his association with the prestigious Houston Grand Opera Studio, Mr. Bozeka performed in Tosca as Spoletta, Carlisle Floyd’s new opera Prince of Players as Male Emilia, Le nozze di Figaro as Don Curzio, and The Little Prince as the Drunkard/Lamplight. He also performed Rinuccio with San Francisco Opera’s Merola Program in their production of Gianni Schicchi for which Opera News praised his “handsome, open-throated rendering of Rinuccio's aria”, and joined Castleton Festival’s production of Madame Butterfly as Pinkerton.
Mr. Bozeka is a previous first prize winner of the Metropolitan Opera National Council District Auditions in Ohio and Houston, and a second-place winner in Houston’s Eleanor McCollum Competition. He received his master’s degree at the University of Cincinnati College–Conservatory of Music where he appeared as Nemorino in L’elisir d’amore, Ferrando in Cosi fan tutte, Ernesto in Don Pasquale, and the Narrator in Owen Wingrave.
American baritone Robert Mellon was acclaimed by Opera News for having “excellent comic timing,” and a “domineering baritone, gleaming like polished copper.” During the 2022-2023 season, Mr. Mellon will be making his house debuts at Tulsa Opera in L’Italiana in Algeri as Taddeo and Opera Tampa as Tonio in Pagliacci; he will then return to Pensacola Opera to reprise the role of Marcello in La bohème; Syracuse Opera as Figaro in Le nozze di Figaro; and to debut the role of Germont in La Traviata at Opera Las Vegas. Mr. Mellon will also be appearing as a soloist with Opera Edwardsville in their free community concert series.
During the 2021-2022 season Mr. Mellon debuted the roles of Marcello in La bohème and Gubetta in Lucrezia Borgia with Opera de Oviedo; and made his Pensacola Opera debut reprising the role of Papageno in Die Zauberflöte. Mr. Mellon will also debuted the role of Iago in a reimagined production of Verdi's Otello with InSeries Opera in Washington D.C.; he also reprised the role of Marullo in Verdi's Rigoletto with Opera Philadelphia, and he debuted as the title role in Verdi’s Falstaff with Union Avenue Opera.
In recent seasons, Mr. Mellon has performed the roles of Schaunard in La bohème with San Diego Opera; Malatesta in Don Pasquale with Opera Las Vegas; Figaro in Il barbiere di Siviglia with Union Avenue Opera; Simone in Eine Florentinische Tragödie and Tonio in Pagliacci with Opera de Oviedo; and the title role in Gianni Schicchi and Simone in Eine Florentinische Tragödie with Livermore Valley Opera, about which the San Francisco Chronicle wrote, “Baritone Robert Mellon was both the musical star of the performance and its dramatic vertex…with a steely vocal edge that never interfered with the beauty and flexibility of his singing.”
Other roles include Leporello in Don Giovanni, Don Alfonso in Cosí fan tutte, Escamillo in Carmen, Pizarro in Fidelio, Sam in Trouble in Tahiti, and Macbeth in the U.S. premiere of Ernest Bloch’s Macbeth. Concert work includes the Mozart and Duruflé Requiems, Dvorak’s Te Deum, Stravinsky’s Pulcinella, Rossini’s Petite Messe Solennelle, Bach’s Magnificat, Handel’s Messiah, Fauré’s Christmas Oratorio, and Mussorgsky’s Songs and Dances of Death.
Praised for conducting with “steady acumen and considerable aplomb” and “awesome control” (Opera Today), Joshua Horsch is an extremely versatile operatic and symphonic conductor. A two-time winner of the American Prize in Opera Conducting Joshua serves as Music Director and Principal Conductor of Opera Las Vegas. Joshua’s recent and upcoming conducting engagements include appearances with Atlanta Opera, Des Moines Metro Opera, Opera Orlando, Mobile Opera, Pacific Opera Project, Opera Las Vegas, Tri-Cities Opera, and Chicago Summer Opera.
With a diverse repertoire of over fifty operas and a broad spectrum of orchestral and choral works, Joshua has recently held positions as a conductor/coach/chorus master on the music staff of the St. Louis Symphony Orchestra, Michigan Opera Theatre, Florida Grand Opera, North Carolina Opera, Opera Saratoga, Pensacola Opera, Fort Worth Opera, the Boulder Philharmonic Orchestra, and the Colorado Music Festival. Joshua’s guest and workshop conducting includes work with the Baltimore Symphony Orchestra, the Omaha Symphony, the Oregon Bach Festival Orchestra and Chorus, the Cabrillo Festival Orchestra, the Bohuslav Martinu Philharmonic Orchestra, Orquestra Filharmonia de Chihuahua, the Lyatoshinsky Chamber Orchestra, the Newport Music Festival, the Colorado New Music Ensemble, the PENDULUM New Music Ensemble, the Boston Opera Collaborative, and the Boulder Bach Festival.
As a dedicated interpreter of new works, Joshua has enjoyed a number of collaborations with many of today’s leading composers including Tom Cipullo, Jennifer Higdon, and Libby Larsen. For two seasons, Joshua served as Music Director/Conductor of the CU New Opera Workshop where he collaborated with composers Libby Larsen and Alberto Caruso as well as author Colm Tóibín and stage director Ron Daniels. At Seagle Music Colony’s American Center for New Works Development, Joshua has conducted and played workshops for new works by Libby Larsen and Scott Eyerly. For four seasons, Joshua served as conductor/co-founder of the Colorado New Music Ensemble where he programmed and conducted works ranging from John Corigliano’s Symphony No. 2 to Susan Botti’s chamber opera Telaio: Desdemona. While a Festival Artist/Conductor at the Newport Music Festival, Joshua conducted members of the Rhode Island Philharmonic and Providence Singers in a series of contemporary choral/orchestral masterworks.
Stage director Octavio Cardenas captivates audiences with his visionary, visceral, and physical style of directing. Opera News has praised him for creating “an immersive theater experience” while the Dallas Morning News hailed him for bringing “every character and situation to life.” Recent projects include Lohengrin by Salvatore Sciarrino as a pop-up digital opera installation: a site-specific opera for COVID times in collaboration with artist Lance McGoldrick and Opera Southwest, Cruzar la cara de la Luna with Opera Santa Barbara, and the World Premiere of Zorro with Fort Worth Opera, Barber of Seville with Opera Delaware, and Florencia en el Amazonas with Opera at Chapman.
Mr. Cardenas’ recent productions of Silent Night for Fort Worth Opera and Lyric Opera of Kansas City were described as “a breathtaking realization” with “many brilliant touches.” The Kansas City Star called the Lyric Opera’s production “one of its finest performances in recent memory.” Other recent productions include La boheme for Minnesota opera to which the Start Tribune acclaimed, “what makes the production a success, is Octavio Cardenas’ staging.” His production of As One for UrbanArias was acclaimed by MD Theater Guide, “Under the direction of Octavio Cardenas, the two stars playfully make great use of both stage and energetic space—it seemed the theatre condensed and expanded with Hannah’s journey.”
He has served as the Director of Baylor Opera, Head of Directing Staff at Des Moines Metro Opera and has also been on the directing staff at Chautauqua Opera. Mr. Cardenas is currently the Visiting Director of Opera at Chapman University and will be joining the Faculty at Eastman School of Music this coming Fall.