La Traviata Paper
MUH2012
The Stranded Woman
La Traviata, which translates to “the stranded woman”, is an opera that serves as an optimal example of a musical style in which form follows function. La Traviata follows the main character, Violetta Valéry, in her journey to battle the disease that is slowly but surely consuming her, as well as the cruel fate of her short time with the love of her life. This opera can be simply broken down by plot in relation to character development in relation to musical choice by the composers which follows the mood of the characters highlighted during the opera, thus the form (of the music) following function (plotline and character growth, or, in Violetta’s case, physical degradation).
As a well known courtesan, Violetta possesses the class ingénue characteristics of being young and beautiful, as well as the object of mans’ desire, but her character is much deeper than the stereotypical ingénue, as she is battling a disease, tuberculosis, that will ultimately lead to the demise of the bliss-filled and ethereal life she could live with Alfredo. In the first act, Violetta hosts a party to celebrate her overcoming of a previous sickness. However, in the middle of this, she feels faintly ill and is approached by Alfredo Germont, a young and diligent man who proclaims his love for Violetta, presenting her with a single flower.
Violetta initially brushes off Alfredo’s attempts, but later she realizes that something about him has captured her, though she already possesses another lover. This development in the opera’s plot is followed by Violetta’s first operatic performance, “Ah, fors'è lui”, which translates to “Ah, perhaps he is the one”, referring, of course, to Alfredo. Consistently in this way, La Traviata allows the audience to connect with the plot through the intimate thoughts and aspirations, and inner monologues of the characters, expressed through operatic ballads.
Coupling the musically stylistic choices, the apparel, sets and,
The Stranded Woman
La Traviata, which translates to “the stranded woman”, is an opera that serves as an optimal example of a musical style in which form follows function. La Traviata follows the main character, Violetta Valéry, in her journey to battle the disease that is slowly but surely consuming her, as well as the cruel fate of her short time with the love of her life. This opera can be simply broken down by plot in relation to character development in relation to musical choice by the composers which follows the mood of the characters highlighted during the opera, thus the form (of the music) following function (plotline and character growth, or, in Violetta’s case, physical degradation).
As a well known courtesan, Violetta possesses the class ingénue characteristics of being young and beautiful, as well as the object of mans’ desire, but her character is much deeper than the stereotypical ingénue, as she is battling a disease, tuberculosis, that will ultimately lead to the demise of the bliss-filled and ethereal life she could live with Alfredo. In the first act, Violetta hosts a party to celebrate her overcoming of a previous sickness. However, in the middle of this, she feels faintly ill and is approached by Alfredo Germont, a young and diligent man who proclaims his love for Violetta, presenting her with a single flower.
Violetta initially brushes off Alfredo’s attempts, but later she realizes that something about him has captured her, though she already possesses another lover. This development in the opera’s plot is followed by Violetta’s first operatic performance, “Ah, fors'è lui”, which translates to “Ah, perhaps he is the one”, referring, of course, to Alfredo. Consistently in this way, La Traviata allows the audience to connect with the plot through the intimate thoughts and aspirations, and inner monologues of the characters, expressed through operatic ballads.
Coupling the musically stylistic choices, the apparel, sets and,