- Inszenierung – Benedikt von Peter
- Sinfonieorchester Basel
- Chor des Theater Basel
- 2 hours 20 minutes without a break
- Age recommendation: 12+
- In italiano, mit deutschen Übertiteln / with English surtitles
Cult production by Benedikt von Peter and Nicole Chevalier
Violetta is alone in the world. Nicole Chevalier is alone on stage. The voices of the ensemble sound ghostly from the dark auditorium. Benedikt von Peter has staged a radically condensed study of loneliness, as contemporary as it is timeless. In the title role of Verdi's melodrama, the American star soprano has been thrilling audiences for years with her moving solo performance.
For two and a half uninterrupted hours, Chevalier lends her voice and body to Violetta, driven by her love obsession - with every quivering fibre.
Together with the dramaturgy department, the Basel Kulturhaus Bider&Tanner has been curating the book table for our plays for many years. Now this selection of books, CDs, DVDs, catalogues and sheet music is available at any time in the online shop. It's worth browsing regularly.
With the kind support of Novartis.
La traviata is a takeover of the Hanover State Opera (premiere 17 September 2011)
Listen to the ‹introduction to go› for productions on Grossen Bühne and at the Schauspielhaus! Subscribe to our podcast on Spotify, Apple Podcasts and Google Podcasts. You can find all episodes in our Media center. More
Mediathek
Cast for the season 24/25:
- Musikalische Leitung –
Gregor Bühl
- Inszenierung –
- Bühne –
- Kostüme –
- Lichtdesign –
- Chorleitung –
- Dramaturgie –
- Violetta Valéry –
- Flora Bervoix –
- Annina –
-
Alfredo Germont –
Jose Simerilla Romero
- Giorgio Germont –
- Gastone / Giuseppe –
- Il Barone Douphol –
-
Marchese d' Obigny –
Olivier Gourdy
- Dottore Grenvil / Commissionario –
- Chor des Theater Basel
- Statisterie Theater Basel
- Sinfonieorchester Basel
Tito Ceccherini prepares the ground for the soprano Chevalier with mysterious, flowing string sounds, spinning her singing along with warm clarinet and oboe lines. When it is sung and played like this, nothing else is needed on stage.
Nicole Chevalier is Violetta. The soprano had the role from the very beginning - she merges with the title character in a way that is rarely experienced. (...) How she moulds the notes, how she depicts her moods in vocal lines - sadness, enthusiasm, anger - how she shapes her great Scene ed Aria ('Sempre libera') in the first act is sensational.
Benedikt von Peter and Nicole Chevalier - you can only call them a double - turn a doomed woman, who clings to her last (and perhaps first) love like a straw, into a resistance fighter against the inevitable. (...) This Violetta Valéry sings as clearly when lying down as when standing up, dances balletically on pointe, sweeps across the stage like a whirlwind, even climbs over the theatre's rows of chairs.
Nicole Chevalier achieves the almost impossible with bravura. It is unbelievable how she manages to convey all the moods - joy, despair, sadness - and captivate the audience for 2 1/2 hours.