La traviata

A table, a chair, a suggested doorway – nothing else. In the background, the orchestra; in front, the auditorium; and in between: Violetta. Alone. The space between the orchestra and the audience – the stage – is almost empty, yet filled with sound, longing, memories, and projections. A space of existential loneliness that becomes the inner world of a woman who dares to love and live radically. Love as a state of emergency, as a dangerous gamble, often leads to death, especially in opera. In Benedikt von Peters’ production of La traviata, this state is not merely narrated but made immediately tangible: Nicole Chevalier, as Violetta, stands alone on stage for the entire evening. An unparalleled feat of strength that reveals Violetta’s unconditional longing for a partner, for unconditional love. Right up to the very end, she clings to the ideal of this love with an intensity that goes far beyond a conventional portrayal. Benedikt von Peter’s production, which premiered in 2013, has since been revived several times. It is one of his most personal works and is closely linked to Nicole Chevalier, who has embodied Violetta from the very beginning. Her artistic and personal development has been woven into the production over the years. For Benedikt von Peter, the production in Stuttgart is therefore not merely another revival, but the continuation of an open theatrical process in which interpretation, character, and time are constantly changing and deepening.