La Traviata


In Verdi’s day, courtesans were not simply prostitutes or even high-class call girls. While they did provide sexual favors for those men who were wealthy enough to afford their services, they were well-educated women who were valued as much for their sophistication and intellectual gifts as they were for their beauty and physical companionship. And unlike many women today, they enjoyed open relationships with their male companions. In an era where upper-class women were denied higher education, they served an important function. In fact, some even charged for conversation alone. The institution became superfluous, not because of a change in morality, but because upper-class and middle-class women themselves became educated, depriving it of its raison d’être. Verdi called the story of this opera “a subject for our time.” He was determined to use the operatic medium, of which he was now a master, to arouse sympathy for society’s outcasts. Like Alexandre Dumas, upon whose novel and play the opera is based, he wanted to protest the exploitation of women. Verdi knew this type of woman could never escape her past, and so this opera never ceases to move us. He has given us not only a social commentary, but an amazingly poignant and melodic score: memorable and beloved for both these reasons.


Verdi’s masterpiece,

presented in-the-round

Saturday, April 14, 2018

at 7:00 pm

Sunday, April 15, 2018

at 4:00 pm

The First Presbyterian Church of Monroe

142 Stage Road, Monroe, NY


Violetta Christine Suits, soprano

Flora, Kathleen Reveille, mezzo-soprano

Annina, Ema Mitrović, mezzo-soprano

Alfredo, Jeduthun Chung Gu Kim, tenor

Germont, Daniel Scofield, baritone

Gaston, Justin Scott Randolph, tenor

Il Marchese, Jeffrey Goble, baritone

Il Barone, Neil Eddinger, baritone

Il Dottore Grenvil, Andrew Martens, bass




performing in-the-round


Conducted and Directed by Ron De Fesi


Production Program





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