A new dress for Violetta

La TraviataTeatro Alla Scala

Among the stated, and achieved, objectives of Riccardo Muti's musical direction was the project to bring the so-called "popular trilogy" back to La Scala. Rigoletto, Il trovatore and La traviata are central works in Verdi's production and were part of the History of La Scala but needed to be re-proposed according to new criteria, less tied to tradition and more respectful of the score.

La TraviataTeatro Alla Scala

The difficulties in restaging La traviata were mainly due to the veneration for the legendary production conducted by Carlo Maria Giulini in 1955, directed by Luchino Visconti, with a trio of protagonists in which, alongside Giuseppe di Stefano and Ettore Bastianini, Maria Callas' star shone.

La TraviataTeatro Alla Scala

The Theatre had tried to re-propose the title in 1964 with Herbert von Karajan conducting, Mirella Freni as Violetta and stage direction by Franco Zeffirelli, but despite the value of the performers, the memory was still too strong: the production only held three nights.

La TraviataTeatro Alla Scala

In 1990 Muti understood that the public would never accept that a famous singer would try to reprise a role that was so closely connected to Callas and chose a cast of young promises: Tiziana Fabbricini, Roberto Alagna and Paolo Coni.

The staging was meant to be an homage to Visconti and to highlight the quality of the Theatre’s workshops.

Violetta, la Traviata, costume by Gabriella PescucciTeatro Alla Scala

The direction was by Liliana Cavani, the scenes by Dante Ferretti and the costumes by Gabriella Pescucci and the show was a resounding triumph, regularly repeated at La Scala and on tour until it became a symbol of the Theatre.

Violetta's costume for the celebration of the Second Act combines the accuracy of period reconstruction with sartorial quality, designing a perfect silhouette.

Gabriella Pescucci focuses attention on the protagonist with extreme attention to detail, using precious materials and following the realization of the costume point by point also in refined details such as the finishing of the bust beads.

Credits: Story

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