Suddenly two gentlemen appear: Gaston, a young noble who introduces his friend Alfredo Germont. The host goes to a group of new arrivals: The marquis of Orbigny, holding Flora’s arm and the baron Douphol with his obvious and useless attempts to catch Violeta’s attention. In Violeta’s living room, the « Lady of the Camellias » and also the most coveted courtesan in Paris, a magnificent party is being thrown. It calls for a deeper reading of the score in full-unfairly discredited by the aesthetes and often by professionals-conventions are certainly not lacking in it (choral interventions, the cavatina and cabaletta of "noble father" in the second act), but melodic findings abound, we can not be insensible to the extraordinary plasticity of the recitative, extremely elaborate, not "narrative", but rich in emotions, where every note seems full of intentions. On the other hand, the success of the opera lies in the constant beauty of the vocal writing, especially for the role of Violet, first virtuoso, after a passionate lyricism, sometimes morbid, almost suicidal, the last act is especially characteristic of this new "way" of VERDI, in which psychological analysis anticipates the external vicissitudes, making the singing invested in the depth of feelings.
It is worth noting in particular that VERDI proceeds musically the other way around: to start he offers the sound image of the death of Violet (which will resume in the prelude to the last act) next he presents the orchestral echo of the the sufferings of heroin, and later on hes love for Alfredo, to end with the nonchalance Parisian party over which the curtain rises. Regardless of the subject, the score is among those showing the best VERDI: the dramatic efficacy of the music accompanied by new surprising harmonic plane, melodic or rhythmic, displaying a completely new science by the composer, the prelude is an example remarkable about it: suddenly, VERDI "describes" what is the essence of drama and anticipates its conclusion, as a counterpoint to a brilliant orchestration that evokes the frivolous and idle life of the heroine, are the two major themes of the work, the love and, above all, death. La Traviata is one of the few examples of lyrical works directly taken from a contemporary work, and from that point of view, it is not surprising that this opera prefigures the dramas of the realist school.
However, the debut from LA TRAVIATA was as shock: this pamphlet against the bourgeoisie and its "vices", the game, women - experienced a complete fiasco. Violet is one of the most popular heroines in the whole operatic repertoire.
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