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© Wiener Staatsoper
La Traviata
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February 2026 | ||||||
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La Traviata – Giuseppe Verdi | Opera
Melodrama in three acts
Text by Alexandre Dumas (son)
Act 1 – approx. 30 min
Intermission – approx. 25 min
Act 2 – approx. 65 min
Intermission – approx. 25 min
Act 3 – approx. 30 min
Synopsis
Act 1
Violetta Valéry, the purchasable object of Parisian society, celebrates exuberantly—only seemingly recovered from a long illness. Alfredo, a young man from the provinces, praises true love in a drinking song.
Violetta, on the other hand, professes a carefree, joyful life. In the midst of the exuberant celebration, she suffers a fainting spell. As she withdraws from the crowd, Alfredo confesses his love to her, but Violetta refuses to accept it: she can only promise him friendship, not love. But she quickly finds herself torn between emotions: Should she give up her current life and allow herself to feel emotions?
Act 2
Violetta and Alfredo are a couple and have retired to the countryside. Violetta has since accumulated large debts, which she keeps secret from Alfredo.
When he learns from Violetta's housekeeper Annina that Violetta is selling her belongings in order to continue financing their shared household, he travels to Paris to provide the necessary funds.
During his absence, Alfredo's father demands that Violetta end the relationship, which jeopardizes the family's reputation and thus Alfredo's sister's engagement. After a long struggle, Violetta agrees to sacrifice herself for her sister's happiness. She writes a farewell letter, eludes the returning Alfredo, and secretly travels to Paris. Alfredo, to whom she delivers her letter, suspects that Baron Douphol has stolen Violetta from him. When he finds her invitation to a party, he follows her to take revenge.
Things get heated at the orgiastic feast. Alfredo wins a game of chance and provokes Douphol. Violetta wants to prevent further escalation and asks Alfredo for a conversation, but she conceals the true reason for their breakup. Pressed by Alfredo, she declares her love for the Baron. Filled with anger and disappointment, Alfredo insults Violetta—to the horror of those present.
Act 3
The impoverished Violetta is near death. A message from Alfredo's father tells her that he now knows the truth and is aware of her sacrifice.
But the lover who finally arrives, as well as his father who has rushed over, only finds a dying woman.
Attendance at the performance is recommended for ages 14 and up.
Program and cast
Violetta Valéry - Nadine Sierra
Alfredo Germont - Xabier Anduaga
Giorgio Germont - Artur Ruciński
Musical direction - Giampaolo Bisanti
Production - Simon Stone
Set design - Robert Cousins
Costumes - Alice Babidge
Lighting - James Farncombe
Video - Zakk Hein
Vienna State Opera
Public Transport
Subway lines: U1, U2, U4
Trams: 1, 2, D, J, 62, 65
Buses: 59A
Local Railway: Badner Bahn
Stops: Karlsplatz / Opera
Taxi stands are available nearby.
Parking
Parking is only € 6, - for eight hours!
The Wiener Staatsoper and the ÖPARK Kärntner Ring Garage on Mahlerstraße 8, under the “Ringstraßengalerien”, offer the patrons of the Vienna State Opera a new, reduced parking fee. You can park in the Kärntner Ring Garage for up to 8 hours and pay only a flat fee of € 6, -. Just validate your ticket at one of the discount machines inside the Wiener Staatsoper. The normal rate will be charged for parking time greater than 8 hours. The validation machines can be found at the following coat checks: Operngasse, Herbert von Karajan-Platz, and the right and left and balcony galleries.
Important: In order to get the discount, please draw a ticket and do not use your credit card when entering the garage!
After devaluing your ticket in the Wiener Staatsoper you can pay comfortably by credit card or cash at the vending machines.
The machines accept coins and bills up to 50.- Euro. Parking time longer than 8 hours will be charged at the normal rate.
History
The structure of the opera house was planned by the Viennese architect August Sicard von Sicardsburg, while the inside was designed by interior decorator Eduard van der Nüll. It was also impacted by other major artists such as Moritz von Schwind, who painted the frescoes in the foyer, and the famous "Zauberflöten" (“Magic Flute”) series of frescoes on the veranda. Neither of the architects survived to see the opening of ‘their’ opera house: the sensitive van der Nüll committed suicide, and his friend Sicardsburg died of a stroke soon afterwards.
On May 25, 1869, the opera house solemnly opened with Mozart's Don Giovanni in the presence of Emperor Franz Joseph and Empress Elisabeth.
The popularity of the building grew under the artistic influence of the first directors: Franz von Dingelstedt, Johann Herbeck, Franz Jauner, and Wilhelm Jahn. The Vienna opera experienced its first high point under the direction of Gustav Mahler. He completely transformed the outdated performance system, increased the precision and timing of the performances, and also utilized the experience of other noteworthy artists, such as Alfred Roller, for the formation of new stage aesthetics.
The years 1938 to 1945 were a dark chapter in the history of the opera house. Under the Nazis, many members of the house were driven out, pursued, and killed, and many works were not allowed to be played.
On March 12, 1945, the opera house was devastated during a bombing, but on May 1, 1945, the “State Opera in the Volksoper” opened with a performance of Mozart's THE MARRIAGE OF FIGARO. On October 6, 1945, the hastily restored “Theaters an der Wien” reopened with Beethoven's FIDELIO. For the next ten years the Vienna State Opera operated in two venues while the true headquarters was being rebuilt at a great expense.
The Secretary of State for Public Works, Julius Raab, announced on May 24, 1945, that reconstruction of the Vienna State Opera would begin immediately. Only the main facade, the grand staircase, and the Schwind Foyer had been spared from the bombs. On November 5, 1955, the Vienna State Opera reopened with a new auditorium and modernized technology. Under the direction of Karl Böhm, Beethoven’s FIDELIO was brilliantly performed, and the opening ceremonies were broadcast by Austrian television. The whole world understood that life was beginning again for this country that had just regained its independence.
Today, the Vienna State Opera is considered one of the most important opera houses in the world; in particular, it is the house with the largest repertoire. It has been under the direction of Dominique Meyer since September 1, 2010.
© Wiener Staatsoper
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