The Lady of the Camellias

Fryderyk Chopin / John Neumeier

  • Act 1

    ca. 40 min.

  • Intermission

    25 min.

  • Act 2

    ca. 40 min.

  • Intermission

    25 min.

  • Act 3

    ca. 50 min.

Duration: ca. 3 hrs

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Performances

Ballet in three acts with a prologue by John Neumeier after the novel by Alexandre Dumas, fils
Premiere: 4 November 1978, Stuttgarter Ballett
Polish premiere: 20 April 2018, Teatr Wielki – Polish National Opera, Warsaw

For adults only

Alexandre Dumas fils in his La Dame aux Camélias describes a refined variant of personal love for a Parisian courtesan. Love, let us add, quite brief in duration and cut short by Alexandre Dumas père, and ultimately by his beloved’s death of consumption. It began with a novel, later a play appeared, followed by a migration of the tragic heroine to Verdi’s La traviata, for the story to finally become the theme of the famous ballet by the remarkable choreographer John Neumeier. He opted to use Chopin’s music (although initially he considered Verdi). I do not know if he knew at the time that Dumas fils ended up in Mysłowice in 1851 while searching for another paramour of his (a daughter-in-law of the Russian Chancellor), where he took up the case of a mysterious murder to while away the time. He never got to see his mistress, never found the murderer, but he did stumble upon George Sand’s letters to Frédéric Chopin instead. The paths of Dumas and Chopin crossed once in Silesia, and now they do yet again in Warsaw, in Neumeier’s exceptional La Dame aux Camélias. The power of modern classics on stage and historical flavours off stage.

Cast

2024-12-14 | 19:00

Credits

Polish National Ballet
Orchestra of the Polish National Opera

Synopsis

  • PROLOGUE

    The ballet takes place during an auction. The story evolves as a series of memories recalled from various points of view — Armand’s, his Father’s and Marguerite’s.

    (All actions during the auction are indicated in bold)

    Marguerite Gautier, once the most desirable courtesan in Paris, has died. The complete furnishings of her luxurious apartment are to be disposed of by auction. Carrying Marguerite’s diary, Nanina, her loyal servant, bids the place farewell. Among those inspecting the items is Monsieur Duval, whose son Armand rushes in frantically. Overcome by memories, he collapses.

     

     

  • Act I

    As Monsieur Duval comforts him, Armand tells his story.

    It begins in the Théâtre des Variétés, during a performance of the ballet Manon Lescaut, in which the famous rococo courtesan deceives Des Grieux with numerous admirers. In the audience, Marguerite Gautier is disgusted by Manon’s frivolous in fidelity. Armand Duval, who has long admired Marguerite, is introduced to her by Gaston Rieux. Marguerite makes fun of Armand’s awkward sincerity. As he follows the ballet, Armand fears that his own future may reflect Des Grieux’s sorrowful fate.

    After the performance Marguerite invites Armand to her apartment along with his friend Gaston, the courtesan Prudence and her own escort, the wearisome young Count N. Annoyed by the jealous Count, Marguerite suffers a coughing attack. Armand follows her to her bedroom, offers his assistance, then confesses his love. Marguerite is moved by his sincere passion. However, aware of her fatal illness and needing the comfort of luxury, she insists that their affair must remain secret.

    While Marguerite continues to lead her hectic life, hastening from one ball to another, from one admirer to the next, from an old Duke to the young Count, Armand is always there — waiting. When Marguerite departs for the idyllic country house the Duke had put at her disposal — he follows her.

     

  • Act II

    Marguerite’s summer straw hat prompts Armand to resume his story...

    Surrounded by revealing friends and ardent admirers, Marguerite continues her turbulent life in the country.

    With the inevitable confrontation between Armand and the Duke, Marguerite’s moment of decision arrives. She publicly acknowledges her love for Armand. Armand and Marguerite are alone at last.

    Armand’s father recalls with regret his part in the story.

    Ashamed that his son is living with a prostitute, Monsieur Duval visits Marguerite in the country. He insists that her relationship with his son will ruin Armand. Shocked, Marguerite protests, but the image of Manon and her admirers appear in memory, a mirror image of her own past, confirming the truth of Monsieur Duval’s accusations. He demands that she leave Armand. Out of deep and sincere love Marguerite complies.

    Armand tells his father how he found the house deserted.

    He waited in vain until Nanina brought him a letter saying that Marguerite had returned to her former life. Unbelieving, Armand runs to Paris, finding Marguerite in the arms of the Duke.

     

  • Act III

    Armand explains to his father how they met later on the Champs-Élysées.

    Marguerite was accompanied by the beautiful young courtesan Olympia. To have his revenge on the woman who had so deeply wounded him, Armand flirts with and seduces Olympia.

    Deathly ill, Marguerite visits Armand, begging him not to hurt her by flaunting his affair with Olympia. Their passion ignites once more. Falling asleep, a vision of her alter ego Manon beckons Marguerite back to her former life. Waking, she remembers her promise to his father and silently leaves Armand for the second time At a grand ball, Armand publicly humiliates Marguerite by handing her money as payment for past services. Marguerite collapses.

    Armand has reached the end of his story. He will never see Marguerite again. Deeply moved, his father leaves, as Nanina returns and gives Armand Marguerite’s diary.

    Reading, Armand seems to accompany Marguerite on her last visit to the theatre. Again, she views a scene from the ballet Manon Lescaut. This time it is one in which Manon, impoverished like herself, dies in the arms of her faithful lover Des Grieux.

    Ill and despairing, Marguerite leaves the theatre, but the characters from the ballet follow her into a feverish dream. As the phantom lovers blend with her own memories, her identification with Manon seems complete. Deserted and longing to see Armand again, Marguerite confides her last thoughts to the diary, which she gives to Nanina for Armand.

    Marguerite dies alone.

    Armand silently closes her diary.

     

Sponsors

  • Ministry of Culture and National Heritage of the Republic of Poland

  • Patrons of the Polish National Opera

    Partners of the Opera Academy

  • Partners of the Polish National Opera

  • Partner of the Polish National Ballet

  • Media patrons

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