Giuseppe Verdi was once asked which of his own operas he liked best. ‘As a professional musician, Rigoletto,’ he replied. ‘But as an dilettante, I would choose La traviata above all.’ La traviata is the most moving, human and strikingly modern not only of Verdi’s operas, but of any from the period - the realist story of a downtrodden female victim of powerful men which hit as many nerves when it was first performed in 1853 as it continues to today.
Much of that is down to Verdi’s unrivalled musical storytelling -from the driving waltzes that propel the score forward with a sense of Parisian excess, to his sympathetic drawing of the opera’s heroine Violetta, the story’s only truly sympathetic human being. As Silvia Camerini has observed, Verdi portrays her ‘with profound subtlety, generosity and love and then tears her apart to the sound of champagne corks popping.’