In 1844 it was suggested to Verdi that he compose an opera based on Victor Hugo's Marion Delorme. His answer, “I know the subject you suggest. The heroine is a character I don't like. I don't like prostitutes on the stage.” In 1852 Verdi saw the play version of La Dame aux Camélias in Paris. After the performance he commented that the subject was "surely effective." What happened to Verdi in those eight years that changed his mind? Love happened. Between 1844 and 1852 he had taken up with Giuseppina Strepponi, a sophisticated, cultivated singer, whose past life (which she was quietly trying to live down) had points in common with that of the Dumas heroine, Marguerite Gautier (whom Piave and Verdi renamed Violetta Valery). Both Verdi and his beloved Giuseppina attended the performance of the Dumas play, where it was reported that he was deeply moved by the heroine’s poignant situation, which reflected the truth of his own situation with Giuseppina.
He began hastily composing this new opera, originally titled “Love and Death”, only two months before its scheduled premiere in Venice. Sadly, his favorite soprano, Rosina Penco, was unavailable to play the leading role and his choice for baritone was insulted at the part he was being offered. He heightened the risk of success by selecting a subject set in contemporary, modern times, stating that, "Others would not have done it because of the conventions, the epoch and for a thousand other stupid scruples," making clear his intentions to be uncompromising. As it turned out on opening night, this new opera was considered “the most celebrated fiasco of Verdi's later career.” Since then, however, the opera has been called "the most profound personal tragedy that the medium has ever produced." It has been touted as "the most touchingly-intimate opera in the Italian repertory" and it is the fourth-most performed opera over the last twenty seasons at the Metropolitan Opera in New York.
The premiere of La traviata at the Teatro la Fenice in 1853 was nothing short of a catastrophe, and Verdi wrote several letters suggesting that the singers were to blame. For one thing, the tenor in the role of Alfredo became ill right before opening night, but sang the part anyway with a feeble voice. The bass, Felice Varesi, had created the roles of both Rigoletto and Macbeth, but was considered to be past his vocal prime, and acted insulted at playing a supporting role. Regarding the character of Violetta, Verdi had doubts about the choice of Fanny Salvini-Donatelli. According to his contract, however, the deadline had passed for him to recast any of the characters, so he was forced to keep the cast list unchanged. Before the first performance, the composer received an anonymous letter, stating that the opera was destined for doom unless he replaced the soprano and the bass. It was too late by then, however, and the opera that had been quickly written over the course of two months had to go on.
During the first performance, the audience was so disinterested in the struggles of Violetta and her illness that they laughed out loud when she (a large woman) sang that she was "wasting away" from consumption. Critics agreed that the singers were incapable; one even reviewed the orchestra and then refused to address the rest, stating that he would only do so when the music was better sung. The censors were displeased with the contemporary setting, which they felt celebrated the immoral indulgences of courtesans. Verdi remained optimistic about these reactions, however, and wrote in a letter, "For my part, the final word on the opera was not spoken last night. They will see it again, and we shall see!"
Obeying the demands of the censors, Verdi reworked the score and libretto so that the story took place in the 17th century, and changed the title from "Love and Death" to "The Fallen Woman," reflecting the moral stance of the authorities on the subject matter. The composer also completely recast the production and reworked the duet between Violetta and Germont at the end of act two. This second time around, in 1854, the opera was a huge success, proving true Verdi's word about the capabilities of the work and what the right casting can achieve. "Then it was a fiasco; now it is creating a furore. Draw your own conclusions!" he exclaimed.
Like that other famous love tragedy, Romeo and Juliet, the universal story of La traviata has inspired contemporary versions of the production. Yet, audiences throughout the years have felt a fondness for the character of Violetta that supersedes any issues regarding the opera’s setting. Her dominance within the work may be why the composer planned only one set for the entire opera, as if not to overshadow the title character herself. As is stated in the program notes for one of the Metropolitan Opera productions, "Our attention will focus on the woman who has been entrusted to the role that is the ultimate test of the lyric/dramatic soprano voice in the Italian repertory. Violetta...simply towers above any production of the opera itself."
Such a demanding role requires the kind of vocal and acting strength that has made heroines out of those who have succeeded. Not only must the vocalist sing through four acts of demanding music, but she must also show the deterioration of the character's health dramatically and vocally, ending with the finale in which she collapses and dies in the arms of her lover. The vocal demands change from act to act, beginning with a lyric-coloratura style of singing and ending with dramatic, verismo vocalism. Maria Callas was nearly deified for her legendary performance of Violetta at Teatro alla Scala in 1955, which was staged by the young genius director, Franco Zefferelli. When one thinks of Ms. Salvini-Donatello's audience and the opera's original critics, it becomes clear why the role is one of the most intimidating to even the most accomplished sopranos. Even so, audiences continue to proclaim a universal love for the woman who broke the rules, but obeyed her heart.
