The opera portraying this unlovely story has always won greater admiration than the spoken drama, which seems to prove the potency of music. Through the re stricting and purifying influence of melody and story in song, our sympathy, with the portrayal of so unpleasant a thing as pulmonary tuberculosis, the result of a wasted life, and with the mental suffering of the repentant woman, is easily gained. Although there is of course a suggestion of the sensual in the music, the grossness which might appear in the spoken word is not felt.
The prelude to the opera can hardly be called an over ture; it is rather a foreboding more like an elegy, and stirs our better, nobler feelings, and gains our interest at once.
The role of Violetta, with its beautiful music and its splendid opportunity for great emotional acting, has at tracted some of our greatest prima donnas. It was as Vio letta that Christine Nilsson made her debut in Paris in 1864, and in London in 1856 Mme. Piccolomini, as Vio letta, was first introduced as a star; Patti considered it one of her strongest characters, and she has perhaps given us the most finished portrayal of the fragile heroine; Melba appeared in the role, and Mme. Sembrich has by
the pathos of her singing in the last act of " La Traviata " melted the heart of the narrowest of moralists.
Admired in the attractive score are the drinking song at the supper, sung by Alfred and Violetta, " Libiamo, libiamo" (" Let's drink to the beauty"), in the chorus of which Flora Gastone, Douphol, the Marquis, and Doctor Grenvile join; it is an effective bit of work, combining the solos of the two principals with a rhythmic, interesting ac companiment of bass voices; Violetta's " Ah, fors' e lui" (" Perchance 'tis he") sung after the departure of her guests, a number of rare beauty and fine contrast, greatly beloved by concert as well as operatic singers; Germont's song to his son, "Di Provenza li mar" (" From Pro vence"), in which he appeals to Alfred to return to his home and to his father's heart ; Violetta's aria " Addio I del passato" ("Adieu to the past "), in which she implores Heaven's pardon, and her duet with Alfred, "Parigi, o cara " ("0 Paris, beloved "), voicing their loving recon ciliation with vows of eternal devotion.