Announcement of the State Opera - Plovdiv, published on 20.11.2020 at https://www.facebook.com/stateoperaplovdiv:
Dear viewers, we would like to inform you about a necessary change in the previously announced soloists of the opera. In the roles tonight you will see:
Violeta Valeri - Evgenia Ralcheva
Alfred Germont - Georgi Dinev
Georges Germont - Krum Galabov
Also participating: Valeria Mircheva, Marieta Velkova, Vladimir Nikov, August Metodiev, Zhivko Peychev, Boris Kuchkov
Ballet soloist: Alexandra Savova
Conductor: Luciano Di Martino
Concertmaster: Irina Abadjieva
Choir, Ballet and Orchestra of Plovdiv Opera
GOOD LUCK!
Due to the introduced restriction for accommodation of spectators in a row and through a place, it is necessary to change some of the pre-purchased seats, about which you will be informed on the spot in the hall. No additional revalidation required!
We remind you to use a protective mask indoors! Thank you for your understanding!

Message from Eventim.bg:
Dear clients,
On 27.10.2020 at 12:25 h. we received the following message from the Plovdiv State Opera:
"Dear viewers,
In connection with the complicating epidemic situation, Opera Plovdiv suspends its performances for two weeks - from 27.10 to 10.11 inclusive. We made the decision for protectionof the health of our audience, as well as all the artists and technical staff on stage. We believe that this is the right decision at the moment and we would like to thank you for your support and understanding! In this regard, we make the following changes to the program for the next two weeks:
31.10 - Winnie the Pooh - postponed for 22.11 from 11 o'clock
31.10 - Behind the scenes of BAYADERKA – canceled
04.11 - Traviata - postponed to 20.11 from 19 hours
10.11 - THE DOORS OF DREAM - is canceled
Purchased tickets are valid for the new dates without additional revalidation. The tickets can be returned not later than 16.11 at the box office from which they were purchased! The box office of Opera Plovdiv will be open with reduced working hours for the specified period - from 10 to 14 hours. Be healthy and see you soon! ”

Ticket return procedure:
The amounts for the tickets purchased through the partner network of Eventim.bg are refunded by the specific site from which they were purchased.
Tickets purchased by Stefani Reklama Ruse and Music Center Plovdiv are returned to the address - Sofia, 58 6th of September Str. with a bank account to which the amount will be refunded, together with the name of the account holder and contact phone.
In case the tickets are purchased from the Eventim.BG website:
- by credit card - they must be sent to the central office of Eventim BG - Sofia, 58 6th of September Str. and within 7 working days the amount on the credit card with which they were purchased will be refunded. Tickets purchased with the print @ home and eticket option are returned by email to [email protected]
- by cash on delivery or by bank transfer - fans must return their tickets by mail to the address - Sofia, 58 6th of September Str. with a bank account to which the amount will be refunded, together with the name of the account holder and contact phone.

Deadline for return of tickets: 16.11.2020

20.11.2020

TRAVIATA - Verdi
19:00H. HOUSE OF CULTURE “BORIS HRISTOV

THE CRUCIFIED OPERA: LA TRAVIATA

Very often at the beginning of a great success and huge popularity, stands a failure. Such is the case of La Traviata, the 18th opera of Giuseppe Verdi, and the last of the magnificent three, including Rigoletto and Il Trovatore. While working on Il Trovatore, in 1852, during a visit to Paris the composer sees the play La Dame aux Camélias by Alexandre Dumas-son. The story of the rejected by the society and her beloved, courtesan Violetta Valéry, the story of her personal tragedy and the reproach towards the society’s guilt and cruelty, is largely biographical for Dumas-son. Among the prototypes of the characters are the well-known Parisian traviata (here I would like to remind, that this is not a proper name, but a derogative for a fallen woman) Marie Duplessis, with whom the writer had an affair, and probably Giorgio Germont, has something of the character of Dumas-father and his authoritarian behavior towards his son with regard to Duplessis… The play, originally a novelette, scandalizes the society back then with its “amoral” story, and with the very fact that center of attention is a “harlot”. Thus, Dumas breaks the pact of silence surrounding the secrete pleasures of the bourgeoisie, unveiling their dark, tragic shadow. Verdi finds a sought after contemporary plot, which coincides with his order from Teatro La Fenice, Venice. The opera must be completed by March 1853, and Verdi and his librettist Francesco Maria Piave start frantic work in Sant'Agata. As already mentioned, the premiere is scandalous. There are different reasons for that: the unsuitable for the role of a consumptive courtesan plump and blooming diva Fanny Salvini-Donatelli, the indisposed Alfredo and the unsuitable Giorgio Germont; the resentment and the shock from the “outrageous” script, the modern setting and costumes. After the premiere and until the mid 1880s, the opera is set in historical environment, shifted back “during the time of Cardinal Richelieu”, a fate, which also befalls A Masked Ball, though not for moral, but for political reasons. Verdi writes to his friend Emanuele Muzio "La Traviata last night was a failure. Was the fault mine or the singers'? Time will tell."

Time clearly tells and makes its decisive corrections in the evaluation of the new opera. The composer also makes his corrections, before the new staging, a year later, again in Venice, this time in Teatro San Benedetto: the place of the disaster becomes also the place where the triumph begins. Madrid, Barcelona, New York, London, Paris… Although the outcries against the plot do not stop, they gradually give way to the admiration to the music. And also, as some of the modern critics point out: It is not clear why the “immorality” of La Traviata causes such anxiety, and why is it worse than what is happening on the stage of Don Carlos, for instance.

The story of Verdi’s La Traviata is the story of Cinderella – from maid to princess. Here, however, the miracle is brought not by a fairy godmother, but by the score itself. 

author: Dragomir Yosifov

https://operaplovdiv.bg/