.............. i =ELM -0 )w -W AV Cover Story Continued from Page 9 U , ,, f. _. Verdi's Traviata: The By Jon Unglaub The exuberant vitality of Rossini, the seductive charm of Donizetti, the pure pathos of Puccini - these fea- tures have endowed Italian opera with a musical finesse and an emo- tional relevance that has challenged performers and enraptured audiences for well over a century. Though each of these composers was a supreme master of musical drama, they were humbled in their own century by the universal genius of Guiseppe Verdi, whose technical virtuosity, refined sentiment and thematic unity epitomize the pinna- cle of operatic composition. This brilliance is translated sublimely into every bar of what may be his greatest achievement, the tragic and delicate La Traviata. While Aida and I Trovatore are clouded in the Ro- mantic spectacle of grand opera, and Otello and Falstaff are prejudiced by literary expectations (despite their mastery of human expression) La Traviata transcends Verdi's other masterpieces through a flawless es- pousal of Italian lyricism and dra- matic immediacy that presents the work on a very personal level. This opera does not inspire awe but rather nurtures genuine feelings in the hearts of those who behold it. The vehicle for Verdi's supreme study of musical characterization is Alexandre Dumas' play La Dame aux Camelias. The performance cen- ters on Violetta, a contemporary Parisian courtesan, whose budding passions and amorous desires are shrouded by her hesitant but certain surrender to tuberculosis. She finds in a dashing Provengal, Alfredo, the love that had always been missing from her frivolous lifestyle. Their bliss is shattered by Alfredo's father, Giorgio, who implores Violetta to spare his family's honor by relieving Alfredo of their disreputable affair. Destitute, the ailing Violetta departs only to be reunited with Alfredo in her final dying moments. Verdi, in Traviata, focuses on realistic characters whose feelings are directly accessible rather than ob- scured by ennobling tales or set op- eratic formulas. Operas in this mode, though often the paragon of lyric beauty and sentimentality, are not musically bound to the dramatic menu of the opera. But La Traviata is permeated by such arias as "Un di felice," where Alfredo serenades Violetta and con- fesses his love; "Sempre libera," where Violetta defiantly rhapsodizes on her carefree existence; and "Impotente," where Giorgio's righ- teousness is countered by Violetta's desperate whimpers as she reconciles to shamefully return to her decadent and empty life in Paris. These arias, inextricably linked to the opera's dramatic progression, use both mu- sic and action to deliver the same emotional force. With such pieces, Verdi forged the path for the great "verismo" operas of Mascagni and Puccini which present humble char- acters animated by jarring and com- pelling scores. Fortunately, this weekend Ann Arborites will delight in two per- formances of the New York City Opera's production of this pivotal landmark of the Operatic repertoire. La Traviata will be sung in Italian complemented by English superti- tIes. The New York City Opera was founded in 1944, and has since highlighted American performers and composers while brilliantly reviving both the old war horses and the more obscure works of renowned com- posers. Its high artistic standards are rivaled on this continent only by the Metropolitan Opera (City Opera's neighbor at Lincoln Center), the Lyric Opera of Chicago, and the War Memorial Opera of San Francisco. City Opera's extraordinarily wide repertory is paralleled only by the Met and it has fostered many When her husband Carl was alive, the Proffers lived off of his teaching salary from the University. But now, Ardis is Ellendea's lone source of income. No longer can she run Ardis just on affection for Soviet literature alone; she has been forced to make it profitable. Even with that responsibility hanging over her, Proffer is arrang- ing a new deal under which Soviet publishing companies will reissue Ardis books in the Soviet Union. "They don't pay us much..." said Proffer about the new agreement. "but we're glad that the books have gone back to the main source of the culture." But the future of the joint venture agreements depends on the success Gorbachev's policies, said Rydel, "That is the big if." No matter what agreement Proffer can work out with the Soviets, Ardis will never make her a rich woman. Although Ardis' commitment to Russian works takes first priority, Proffer has been forced to explore other avenues to support her com- pany. Ardis purchased Infoscan, a company which transcribes Soviet literature, as a way to help pay the bills. "We're hoping that Infoscan will generate the cash to support Ardis. This is a small press that exists without a subsidy. We make it, but we don't have an inch left over to invest in the company." The real courage of the Proffers, and now Ellendea alone, has been their willingness to stay in business. Friends attribute Ardis' success to the Proffers devotion to each other. and to the company. "When those two met, it was ab- solute fireworks," said Rydel, who was with the Proffers when they met at Indiana University. "They were soulmates. Those two had a spectac- ular partnership. It was romance." Yet Ellendea has been able to keep the business afloat. Friends of both say that Ellendea's business savvy was not as surprising as was her courage after Carl's death. "Ellendea has survived and she has transformed," Rydel said. "At first she was grief striken, but even then, Ardis never stopped. Carl, at the beginning had more experience, but Ellendea had a real sophistication about literature. She had to learn, The basement of Proffer's house at Leslie Park houses Ardis Publisl Violetta, played by Donna Zapola,falls victim to a tragic love affair in La Traviata. celebrities, including the late Nor- man Treigle and Beverly Sills, the company's current artistic director. I enjoyed three outstanding pro- ductions during City Opera's regular summer season, and the touring troupe will surely deliver a flawless La Traviata in full fidelity to the opera's literary truthfulness, dramatic sensitivity, and musical perfection. while he was dying, the business side. When Carl died, she found re- serves of strength, and I think the business is now better organized. She is more of a business person than Carl ever was." Journalist Kaiser praised Proffer for keeping the business on an even keel after Carl's death. "A lot of their friends worried that she wouldn't be able to do it alone. The best compliment to Ellendea is that I am not conscious of any significant changes in the business." Money pays the bills, but Proffer only needs enough cash to keep her business going, and only enough fame so that other Russian authors kn ge the aga the Mo mi ho] the La Traviata will be at the Power Center at 8 p.m. Saturday and at 3 p.m. Sunday. For tickets, call the University Musical Society at 764- 2538. Portfolio Photography Precision Photographics The Full-Service Photo Lab Main Lab 830 Phoenix Dr. 971-9100 At Great Copy 110 E. 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