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In this paper I explore possible solutions to the practical problems presented by the role of Violetta in Verdi's opera, La traviata. As a practising singer, I am aware of the particular vocal and dramatic challenges involved in performing the role. An experienced singer can advise on how the role should be sung. A director or drama coach can advise on how it should be played. Recorded versions of the role are available to be heard and seen for reference purposes. The memoirs of individual singers may give glimpses of their personal impressions of the role. Detailed information on the role in its entirety, however, has not been documented by a performer. I believe that practice-led research may assist future students, performers and directors to assess how the role of Violetta might be successfully approached. In the works of Verdian scholars such as Julian Budden (1978), David Kimbell (1981) and Gilles de Van (1998), little reference to the singer’s experience on a technical and analytical level appears to be made. They tend to glance at the fortuitous nature of the opera's realism, both structurally and historically, in adducing general principles regarding Verdi's methods. They may cite Verdi's personal life and the fact that the opera is based on a true story as a lucky or irrelevant coincidence. |
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