April 25 | 7:30pm | Subscribe now
April 26 | 2:00pm | Subscribe now
Save the date! Single Tickets on sale June 9th.
Audio Description, Touch Tour, and Braille Programs are available at the Sunday performance.
In a co-production with the Columbus Symphony Orchestra, CAPA and Opera Columbus. Composed by Giuseppe Verdi and inspired by Alexandre Dumas Fils’s play La Dame aux camélias, La Traviata unfolds as a poignant tragedy. Officially the most performed opera worldwide, La Traviata is Verdi’s twisting love story that explores class, reputation and devotion, with heartbreaking consequences. The story centers on Violetta Valéry, a celebrated courtesan who discovers true love in the arms of Alfredo Germont. However, social pressures and Alfredo’s disapproving father compel her to renounce their love for the sake of his family’s reputation. Overcome by heartbreak and illness, Violetta ultimately finds her way back to Alfredo, but their reconciliation comes too late—she dies in his arms, underscoring the opera’s powerful themes of love, sacrifice, and societal judgment.
#TraviataOC
This production will be performed in Italian with English captions.
In a Co-Production with the Columbus Symphony Orchestra and CAPA
What’s Interesting About This Opera…
- La Traviata is based on the play “La Dame aux Camélias” by Alexandre Dumas
- During OC’s 40 Days of Opera, we performed an immersive version of the show at the Residence Inn Hotel Columbus Downtown
Synopsis
ACT II
Alfredo and Violetta have lived together for three months in a country house outside Paris. Alfredo’s satisfaction comes from Violetta’s abandonment of her former life to devote herself to him. Violetta’s maid, Annina, greets Alfredo, and he asks where she has been. Though she has been sworn to silence, she tells him she has been to Paris selling Violetta’s possessions. Alfredo resolves to fix the situation. He leaves, ordering Annina not to reveal his departure to her mistress. Violetta returns and receives an invitation from Flora to a party. Giuseppe then announces there is a gentleman to see her. The visitor reveals himself as Germont, Alfredo’s father. He is concerned that his daughter cannot marry into the family she has chosen unless Alfredo gives up this current life. Germont wants her to give up Alfredo completely. She refuses, explaining that she has no friends and no relatives. She doesn’t have a lot of time left. Eventually she gives in and asks Germont not to allow Alfredo to curse her memory and to tell him of her sufferings.
Violetta is writing a note as Alfredo enters. She hides the letter and Alfredo reveals that he is concerned that his father will visit them. Violetta confirms Alfredo’s love for her and runs out. Alfredo’s contentment is later disturbed when it is announced that Violetta has left for Paris and a letter is given to him that Violetta wrote earlier. He reads the letter and learns of Violetta’s abandonment. As he turns to leave he runs into his father. Germont tries to comfort his son who is now full of vengeance. He sees Flora’s invitation and realizes where Violetta has gone.
Later, at a party in Flora’s salon, the Marquis informs the Doctor and Flora that Alfredo and Violetta have split and that Violetta will be coming to the party with the Baron. A group of party ladies enter disguised as gypsies, singing about telling the future. A group of men enter, led by Gastone, disguised as matadors and picadors. They sing of a brave matador who faced five bulls in a single day to win the heart of a young lady. All are surprised as Alfredo enters. He starts to gamble at cards. Violetta enters with the Baron. The Baron sees Alfredo, points him out to Violetta and warns her not to talk to him. Violetta agrees. Alfredo keeps winning at cards and recklessly announces that with his winnings he will go back to the country but not alone. The Baron challenges Alfredo to a card game. Alfredo wins. As supper is served, Violetta stays behind and asks Alfredo to slip away with her. She begs him to go away because he is in danger — the Baron might challenge him to a duel. He refuses unless she comes with him. She refuses, answering that she loves the Baron. Alfredo calls all the guests and humiliates Violetta by throwing the money he has won at her. The guests turn on him. Germont, who has arrived at the party and seen this display, asks if this is his son. Alfredo feels remorse immediately. Finally, the Baron challenges Alfredo to a duel for the offense as the other guests comfort Violetta.
ACT III
Violetta is ill in her deserted home. When she awakens, she calls Annina, who apologizes for sleeping. Violetta wants to rise but she doesn’t have the strength. The Doctor enters in time to help Violetta back to bed. He confides to Annina that Violetta has only hours to live. Violetta rereads a letter from Germont, which reveals that the Baron was wounded in a duel with Alfredo and that Germont has told his son everything about the departure of Violetta. Annina, hurrying into the room, prepares Violetta for a surprise. Violetta guesses the secret as Alfredo enters. He is ready to take her to the country. She gets up and starts to dress but is too weak. The Doctor enters, followed by Germont. Violetta tells Germont and his son that they have come too late. She then gives a miniature to Alfredo in order that he will remember her. Violetta has a moment of remission — no pain, no heaviness and a resurgence of strength. She collapses, and as Alfredo holds her, she dies
Synopsis Credit: OPERA America
Frequently Asked Questions
What Should I Wear?
There is no dress code for the opera! Some patrons choose to dress for a special occasion and others prefer to keep it casual.
Where Should I Park?
Parking is available at the Columbus Commons Parking Garage located off of Rich or Main Street.
When Should I Arrive?
Plan on arriving about 30-40 minutes early. This gives you plenty of time to park, get your tickets from will call if you need to and find your seats without feeling rushed. Latecomers are seated (or stand) in the rear of the theatre until ushers take them to their seats at an appropriate point in the production.
CAPA Ticket Center All-In Ticket Pricing
CAST
Quickly gaining attention as a singer possessing a lyric and dramatic voice with good bel canto technique (Indie Opera/Town Topics New Jersey), soprano Aubry Ballarò recently made her international debut as the title role in Lucia di Lammermoor with State Opera Stara Zagora. Soon after, Ms. Ballarò joined The Princeton Festival to sing the role of Madame Herz in their 2022 production of The Impresario. Under the baton of Steven Mercurio, she has appeared twice at the Festival de Musique de Saint Barthélemy, singing Micaëla in their 2020 production of Carmen and popular operatic selections in their 2021 concert with orchestra. Ms. Ballarò was a Finalist in the 2021 Vincerò World Singing Competition in Napoli, a winner of the 2019 Bologna International Vocal Competition, as well as a District Winner of the 2022 Metropolitan Opera Laffont Competition. Ms. Ballarò is a recent graduate of the Academy of Vocal Arts, where she was seen performing roles such as Susanna in Le Nozze di Figaro, Musetta in La bohème, Juliet in Roméo et Juliette, and Oscar in Un ballo in maschera. In 2023, Ms. Ballarò will be returning to State Opera Stara Zagora to debut the role of Violetta Valéry in Verdi’s La Traviata, and will be joining Opera Columbus to debut the role of Gilda in Verdi’s Rigoletto
Aubry Ballaro
Upcoming engagements include a return to one of her signature roles, Rosina in Il barbiere di Siviglia with Virginia Opera in November 2023, a third role debut and her second foray into the Donizetti Queen operas, Giovanna Seymour in Anna Bolena with Musica Viva Hong Kong in December, revisiting Olga in Rosetta Cucchi’s production of Eugene Onegin in February/March 2024 and the role creation of Sara (reimagined Sarastro) in A Magic Flute Experience: The Temple, both with Opera Columbus where she has become an audience favorite. The season concludes with Ms. Ginther’s return to Central City Opera as Emma Jones in Kurt Weill’s Street Scene in the Summer of 2024. The 2022-2023 season marked Ms. Ginther’s return to Musica Viva Hong Kong in her role debut as Elisabetta in Donizetti’s Maria Stuarda following her triumph as Adalgisa in Bellini’s Norma with the company in 2021. She joined Opera Omaha in concert scenes from Cavalleria rusticana as Santuzza and Don Carlos as Éboli for ‘Opera Outdoors’, and later returned as La maestra delle novizie in their production of Suor Angelica. In the Spring of 2023, Ms. Ginther made her company debut with Opera Columbus as Maddalena in Rigoletto, as well as being a guest performer for the annual Opera Columbus Gala. The season closed with her debut with Central City Opera as Emilia in Rossini’s rarely performed Otello. Other recent engagements include Ms. Ginther’s role debut as Olga in Eugene Onegin with Opera Omaha, a return to the role of Rosina in Il barbiere di Siviglia with Opera on the James and Fargo-Moorhead Opera, and Beethoven’s Symphony No. 9 in Santa Fe with Maestro Joe Illick. In February 2020, Ms. Ginther made her New Orleans Opera debut as Joan of Arc in a rare production of Tchaikovsky’s massive grand opera The Maid of Orléans. That spring, she was scheduled to make her role debut as Santuzza in Cavalleria rusticana, but that production was cancelled due to the COVID-19 pandemic. Throughout 2019, Ms. Ginther made a variety of successful role and company debuts, starting with the title role of Carmen for her return to Fargo-Moorhead Opera, an interpretation acclaimed as “effortlessly powerful and richly emotive”. Ms. Ginther subsequently made her Fort Worth Opera debut as Judy Sinclair in the world premiere of Rachel Peters’ Companionship, receiving praise for her “gorgeously rich, textured timbre”. Finally, Ms. Ginther took her initial bow with Odyssey Opera as Anne Boleyn in Saint-Saëns’ grand opera Henry VIII, earning plaudits for her “darkly projected voice” and “melting lyricism” (Boston Classical Review). The recording of this production led by Maestro Gil Rose was released in April 2022. Recent seasons have witnessed Ms. Ginther’s auspicious debuts on both coasts. During the 2017–2018 season, she made her Carnegie Hall debut as a guest artist with MidAmerica Productions, followed by her critically lauded New York City Opera debut as Lureen in the US premiere of Charles Wuorinen’s Brokeback Mountain, and concluding with her Los Angeles Opera debut performing a double bill of Gordon Getty’s operas Usher House and The Canterville Ghost. During the 2016–2017 season, Ms. Ginther made her Center for Contemporary Opera debut in a double bill of Louis Andriessen’s Odysseus’ Women and Anaïs Nin and created the buffa role of Lady Meresvale in the New York premiere of Carlisle Floyd’s Prince of Players. Throughout the 2015–2016 season, Ms. Ginther displayed the range of her artistry as both Rosina in Il barbiere di Siviglia and the prisoner Vlasta in Mieczysław Weinberg’s The Passenger, both with Florida Grand Opera. Additionally, with Florida Grand Opera, she covered the leading role of Liese in The Passenger and Adalgisa in Norma. Ms. Ginther has also created the role of Bobachino in the world premiere of John Musto’s opera buffa, The Inspector, with Wolf Trap Opera and is featured on the original cast recording. Ms. Ginther has been a grantee of the Olga Forrai Foundation for Dramatic Voices since 2019. She has fulfilled young artist residences with Florida Grand Opera, Wolf Trap Opera, Virginia Opera, The Crested Butte Music Festival, and Opera Saratoga, in addition to gaining her early professional experience with Cincinnati Opera and Mississippi Opera. An alumna of the University of Cincinnati, College-Conservatory of Music, Ms. Ginther is represented worldwide by Piper Artists Management (http://piperartists.com/portfolio/hilary-ginther/).
Hilary Ginther
CREATIVES
Giuseppe Verdi
Giuseppe Fortunino Francesco Verdi (Italian: [dʒuˈzɛppe ˈverdi]; 9 or 10 October 1813 – 27 January 1901) was an Italian opera composer. He was born near Busseto to a provincial family of moderate means, receiving a musical education with the help of a local patron. Verdi came to dominate the Italian opera scene after the era of Gioachino Rossini, Gaetano Donizetti, and Vincenzo Bellini, whose works significantly influenced him.
In his early operas, Verdi demonstrated a sympathy with the Risorgimento movement which sought the unification of Italy. He also participated briefly as an elected politician. The chorus “Va, pensiero” from his early opera Nabucco (1842), and similar choruses in later operas, were much in the spirit of the unification movement, and the composer himself became esteemed as a representative of these ideals. An intensely private person, Verdi did not seek to ingratiate himself with popular movements . As he became professionally successful he was able to reduce his operatic workload and sought to establish himself as a landowner in his native region. He surprised the musical world by returning, after his success with the opera Aida (1871), with three late masterpieces: his Requiem (1874), and the operas Otello (1887) and Falstaff (1893).
His operas remain extremely popular, especially the three peaks of his ‘middle period’: Rigoletto, Il trovatore and La traviata. The bicentenary of his birth in 2013 was widely celebrated in broadcasts and performances.
Francesco Maria Piave
Rossen Milanov
Respected and admired by audiences and musicians alike, Rossen Milanov is currently the music director of the Columbus Symphony Orchestra (CSO), Chautauqua Symphony Orchestra, Princeton Symphony Orchestra, and newly appointed chief conductor of the Slovenian RTV Orchestra in Ljubljana.
Milanov has established himself as a conductor with considerable national and international presence. He recently completed a seven-year tenure as music director of the Orquesta Sinfónica del Principado de Asturias (OSPA) in Spain. Nationally, he has appeared with the Colorado, Detroit, Indianapolis, Milwaukee, Baltimore, Seattle, and Fort Worth symphonies, National Symphony Orchestra at the Kennedy Center, Link-Up education projects with Carnegie Hall and the Orchestra of St. Luke’s, and with the Civic Orchestra in Chicago.
Internationally, he has collaborated with the BBC Symphony Orchestra, Orchestra de la Suisse Romand, Rotterdam Philharmonic, Aalborg, Latvian, and Hungarian National Symphony Orchestras and the orchestras in Toronto, Vancouver, KwaZulu-Natal Philharmonic (South Africa), Mexico, Colombia, Sao Paolo, Belo Horizonte, and New Zealand. In the Far East, he has appeared with NHK, Sapporo, Tokyo, and Singapore symphonies, Hyogo Performing Arts Center, and Malaysian and Hong Kong Philharmonics.
Milanov has collaborated with some of the world’s preeminent artists, including Yo-Yo Ma, Itzhak Perlman, Joshua Bell, Midori, Christian Tetzlaff, and André Watts. During his 11-year tenure with the Philadelphia Orchestra, Milanov conducted more than 200 performances. In 2015, he completed a 15-year tenure as music director of the nationally recognized training orchestra Symphony in C in New Jersey, and in 2013, a 17-year tenure with the New Symphony Orchestra in his native city of Sofia, Bulgaria. His passion for new music has resulted in numerous world premieres of works by composers such as Derek Bermel, Mason Bates, Caroline Shaw, Phillip Glass, Richard Danielpour, Nicolas Maw, and Gabriel Prokofiev, among others.
Noted for his versatility, Milanov is also a welcomed presence in the worlds of opera and ballet. He has collaborated with Komische Oper Berlin (Shostakovich’s Lady Macbeth of Mtzensk), Opera Oviedo (Spanish premiere of Tchaikovsky’s Mazzepa and Bartok’s Bluebeard’s Castle – awarded best Spanish production for 2015), and Opera Columbus (Verdi’s La Traviata).
An experienced ballet conductor, he has been seen at New York City Ballet and collaborated with some of the best known choreographers of our time such Mats Ek, Benjamin Millepied, and most recently, Alexei Ratmansky in the critically acclaimed revival of Swan Lake in Zurich with the Zurich Ballet and in Paris with La Scala Ballet.
Milanov was recipient of an Arts Prize by The Columbus Foundation. Under his leadership, the Columbus Symphony has expanded its reach by connecting original programing with community-wide initiatives such as focusing on women composers, nature conservancy, presenting original festivals, and supporting and commissioning new music.
In Princeton, he celebrated his tenth anniversary as music director, and under his leadership, the orchestra has established an excellent artistic reputation and has been recognized for its innovation and vital role in the community.
Milanov studied conducting at the Curtis Institute of Music and the Juilliard School, where he received the Bruno Walter Memorial Scholarship.
A passionate chef, he often dedicates his culinary talents to various charities.
Eve Summer
Hailed “a rising star of stage directing [whose] approach to directing refreshes hope for the future of opera,” Eve Summer is a director, producer, and choreographer. She has been described as having “a gift for translating classic symbolism into familiar detail with just enough flippancy to bring out the fun of the opera without skewing the emotional equation.” Recent directing credits include The Glimmerglass Festival, Trouble in Tahiti; Opera Columbus, Tosca, Don Giovanni; Curtis Opera Theatre, Così fan tutte, Albert Herring; Opera Saratoga, The Barber of Seville; Opera Grand Rapids, Così fan tutte, The Mikado, Don Giovanni; Tulsa Opera, The Little Prince; Opera Orlando, The Tales of Hoffmann, Lizbeth; Opera Carolina, Don Giovanni; Connecticut Early Music Festival, Xerxes; A.J.Fletcher Opera Institute at UNCSA, Volpone; Opera Tampa & Opera in Williamsburg, The Pearl Fishers; MassOpera, Carmen; Boheme Opera New Jersey, Aida, Lucia di Lammermoor; and the world premiere of Larry Bell’s opera Holy Ghosts at the Berklee Performance Center.
Eve’s work has been called “eye-poppingly contemporary,” “a riveting, glorious production from beginning to end,” and “can only be described as brilliant.” Critics raved that her production of Xerxes was “a delight, and a testament to Summer’s gift for banishing stodginess from an art form too often seen as fossilized and elitist”. Critics hailed her recent Albert Herring at Curtis as “exuberant and delightful,” “a drawing room tour de force,” and declared “It is hard to imagine how the performance could have been improved. It was sensational.” Her style is naturalistic, modern, and rooted in the visceral truthfulness of stage plays where she started her directing career. Her theater productions have included The Merry Wives of Windsor, Extremities, A Midsummer night’s Dream, The Woolgatherer, ‘Art,’ Two Gentlemen of Verona and her own play Neighbors, an adaptation of the novel of the same name by Thomas Berger.
A former professional ballet dancer and choreographer, Eve’s choreography credits include a commission to choreograph a new ballet, Jeanne’s Fantasy, by composer Mark Warhol for the premiere with Contrapose Dance and Fort Point Theatre Channel, Elektra at Des Moines Metro Opera, Falstaff at Opera Colorado, and Don Giovanni at Boston Opera Collaborative. She recently collaborated with renowned choreographer Karole Armitage on the critically acclaimed American premiere of Philip Glass’ Opera-Ballet The Witches of Venice at Opera Saratoga. Eve has served as staff director and choreographer at many opera companies including Boston Lyric Opera, The Glimmerglass Festival, Des Moines Metro Opera, Opera Colorado, Tulsa Opera, Opera Saratoga, and Opera Boston. www.EveSummerDirector.com
Nate Ben-Horin
A 2021-22 Resident Artist with Opera Columbus, Nate Ben-Horin divides his work as a pianist and vocal coach between the United States and Canada. A former solo student of Jeremy Denk, he recently completed a master’s degree in collaborative piano at McGill University with Michael McMahon and Stephen Hargreaves, and has received additional training from Highlands Opera Studio, Lachine Vocal Academy, and the CoOperative Program. As an undergraduate at UC Berkeley, he won the 2014 Austin F. William Prize in piano performance and was subsequently hired as a staff pianist and assistant choral director. He has worked widely with local singers and instrumentalists in the San Francisco area, including the Jewish Folk Choirs of San Francisco and Berkeley, and several consecutive seasons with West Edge Opera variously as repetiteur, harpsichordist, choirmaster, and promotional recitalist. He is currently a proud co-curator, arranger, and pianist of The Shoah Songbook, a digital recital series which highlights rare music from the Holocaust.
