When the opera was brought forward again a year later, the same city which had decried it as a failure acclaimed it a success. On this occasion, however, the period of the action differed from that of the play. It was set back to the time of Louis XIV., and costumed accordingly. There is, however, no other opera today in which this matter of costume is so much a go-as-you-please affair for the principals, as it is in "La Traviata." I do not recall if Christine Nilsson dressed Violetta according to the Louis XIV. period, or not; but certainly Adelina Patti and Marcella Sembrich, both of whom I heard many times in the rôle (and each of them the first time they sang it here) wore the conventional evening gown of modern times. To do this has become entirely permissible for prima donnas in this character. Meanwhile the Alfredo may dress according to the Louis XIV. period, or wear the swallow-tail costume of today, or compromise, as some do, and wear the swallow-tail coat and modern waistcoat with knee-breeches and black silk stockings. As if even this diversity were not yet quite enough, the most notable Germont of recent years, Renaud, who, at the Manhattan Opera House, sang the rôle with the most exquisite refinement, giving a portrayal as finished as a genre painting by Meissonnier, wore the costume of a gentleman of Provence of, perhaps, the middle of the last century. But, as I have hinted before, in old-fashioned opera, these incongruities, which would be severely condemned in a modern work, don't amount to a row of pins. Given plenty of melody, beautifully sung, and everything else can go hang.
Act I. A salon in the house of Violetta. In the back scene is a door, which opens into another salon. There are also side doors. On the left is a fireplace, over which is a mirror. In the centre of the apartment is a dining-table, elegantly laid. Violetta, seated on a couch, is conversing with Dr. Grenvil and some friends. Others are receiving the guests who arrive, among whom are Baron Douphol and Flora on the arm of the Marquis.
The opera opens with a brisk ensemble. Violetta is a courtesan (traviata). Her house is the scene of a revel. Early in the festivities Gaston, who has come in with Alfred, informs Violetta that his friend is seriously in love with her. She treats the matter with outward levity, but it is apparent that she is touched by Alfred's devotion. Already, too, in this scene, there are slight indications, more emphasized as the opera progresses, that consumption has undermined Violetta's health.
First in the order of solos in this act is a spirited drinking song for Alfred, which is repeated by Violetta. After each measure the chorus joins in. This is the "Libiamo ne' lieti calici" (Let us quaff from the wine cup o'erflowing).
[[Listen]]
Libiamo, libiamo ne' lieti calici
Music is heard from an adjoining salon, toward which the guests proceed. Violetta is about to follow, but is seized with a coughing-spell and sinks upon a lounge to recover. Alfred has remained behind. She asks him why he has not joined the others. He protests his love for her. At first taking his words in banter, she becomes more serious, as she begins to realize the depth of his affection for her. How long has he loved her? A year, he answers. "Un dì felice, eterea" (One day a rapture ethereal), he sings.
In this the words, "Di quell'amor ch'è palpito" (Ah, 'tis with love that palpitates) are set to a phrase which Violetta repeats in the famous "Ah, fors'è lui," just as she has previously repeated the drinking song.
Verdi thus seems to intend to indicate in his score the effect upon her of Alfred's genuine affection. She repeated his drinking song. Now she repeats, like an echo of heartbeats, his tribute to a love of which she is the object.