La Traviata

WED August 22 at 7pmCharles H. Morris Center

General Tickets: $40

Premium seating is SOLD OUT

Experience the tragedy of a hopeless romance in the most performed opera of today, Giuseppe Verdi’s La Traviata.

In this timeless story, a young suitor falls for a beautiful courtesan of high class. Their relationship is doomed from the start—Violetta Valéry’s health is slowly fading, but she finds herself returning Alfredo’s feelings despite the limited time she knows they’d have. She leaves her comfortable life as a courtesan to be with him, but outside forces get in the way of their happiness.

Staged by renowned director Fabrizio Melano in its traditional Parisian setting and conducted by last year’s Barber musical director, Jorge Parodi, this opera is not one to miss. International artists Micaëla Oeste, Santiago Ballerini and Marco Nisticò come together in Savannah to bring this gorgeous tragedy to life.

Sponsored by Helen Downing


General Seating: $40Call the Box Office

About Premium Seating

Premium seating for this event is SOLD OUT

Please look for signage for the Premium Seating section. Seats are not assigned. Donors at the Bizet Level and above automatically qualify for Reserved Seating.

View Seating Diagram

Please note: Seating diagrams are an approximation and are subject to change.



Violetta Valéry knows that she will die soon, exhausted by her restless life as a courtesan. At a party she is introduced to Alfredo Germont, who has been fascinated by her for a long time. Rumor has it that he has been enquiring after her health every day. The guests are amused by this seemingly naïve and emotional attitude, and they ask Alfredo to propose a toast. He celebrates true love, and Violetta responds in praise of free love. She is touched by his candid manner and honesty. Suddenly she feels faint, and the guests withdraw. Only Alfredo remains behind and declares his love. There is no place for such feelings in her life, Violetta replies. But she gives him a camellia, asking him to return when the flower has faded. He realizes this means he will see her again the following day. Alone, Violetta is torn by conflicting emotions—she doesn’t want to give up her way of life, but at the same time she feels that Alfredo has awakened her desire to be truly loved.


Violetta has chosen a life with Alfredo, and they enjoy their love in the country, far from society. When Alfredo discovers that this is only possible because Violetta has been selling her property, he immediately leaves for Paris to procure money. Violetta has received an invitation to a masked ball, but she no longer cares for such distractions. In Alfredo’s absence, his father, Giorgio Germont, pays her a visit. He demands that she separate from his son, as their relationship threatens his daughter’s impending marriage. But over the course of their conversation, Germont comes to realize that Violetta is not after his son’s money—she is a woman who loves unselfishly. He appeals to Violetta’s generosity of spirit and explains that, from a bourgeois point of view, her liaison with Alfredo has no future. Violetta’s resistance dwindles and she finally agrees to leave Alfredo forever. Only after her death shall he learn the truth about why she returned to her old life. She accepts the invitation to the ball and writes a goodbye letter to her lover. Alfredo returns, and while he is reading the letter, his father appears to console him. But all the memories of home and a happy family can’t prevent the furious and jealous Alfredo from seeking revenge for Violetta’s apparent betrayal.

At the masked ball, news has spread of Violetta and Alfredo’s separation. There are grotesque dance entertainments, ridiculing the duped lover. Meanwhile, Violetta and her new lover, Baron Douphol, have arrived. Alfredo and the baron battle at the gaming table and Alfredo wins a fortune: lucky at cards, unlucky in love. When everybody has withdrawn, Alfredo confronts Violetta, who claims to be truly in love with the baron. In his rage Alfredo calls the guests as witnesses and declares that he doesn’t owe Violetta anything. He throws his winnings at her. Giorgio Germont, who has witnessed the scene, rebukes his son for his behavior. The baron challenges his rival to a duel.


Violetta is dying. Her last remaining friend, Doctor Grenvil, knows that she has only a few more hours to live. Alfredo’s father has written to Violetta, informing her that his son was not injured in the duel. Full of remorse, Germont has told his son about Violetta’s sacrifice. Alfredo wants to rejoin her as soon as possible. Violetta is afraid that he might be too late. The sound of rampant celebrations are heard outside while Violetta is in mortal agony. But Alfredo does arrive and the reunion fills her with a final euphoria. Her energy and exuberant joy of life return. All sorrow and suffering seem to have left her—a final illusion, before death claims her.

Before You Go

Charles H. Morris Center

The Charles H. Morris Center is one of the south’s most popular entertainment and wedding destinations and is consistently voted Best of Savannah event spaces. Located near Bay and Broad Street, patrons can enjoy a variety of dining options for their evening.

There is limited parking in the adjoining lot. Street parking is available along Broad Street and nearby squares.


The Charles H. Morris Center is located down the street from our Community Partners at Cha Bella and B. Matthews Eatery. Ticketholders enjoy the following discounts during the Festival dates. Make your reservations to add to your Festival experience!

Cha Bella – Festival ticketholders receive 25% off their order excluding alcohol when they present their Festival ticket on the evening of the event.

B. Matthews Eatery – Festival ticketholders receive 15% off their order excluding alcohol when they present their Festival ticket on the evening of the event.


We recommend you arrive with plenty of time for parking. Please keep in mind that the lobby opens 1 hour prior to showtime and the doors open 30 minutes prior to showtime.


Violetta Valéry

Micaëla Oeste

Alfredo Germont

Santiago Ballerini

Giorgio Germont

Marco Nisticò

Flora Bervoix

Megan Cleaveland


Peter Lake

Marchese d'Obigny

William Desbiens

Dottor Grenvil

Nan Qin


Jorge Parodi

Internationally acclaimed conductor Jorge Parodi has worked extensively in North America, Latin America, Europe, and Asia. In 2017, Maestro Parodi conducted the World Premiere of John Musto’s Rhoda and the Fossil Hunt for On Site Opera in New York City, which received rave reviews in the press.  Maestro Parodi has made recent company debuts with Maria de Buenos Aires at Opera Grand Rapids, Maria de Buenos Aires at Atlanta Opera, and Il Barbiere di Siviglia for Opera Tampa.
The success of Parodi’s Barbiere prompted Opera Tampa to invite him back to conduct Le Nozze di Figaro with stage director Bernard Uzan.  The Tampa Bay Times praised Parodi’s style as having ‘the right mix of restraint and exuberance.’   Next season Maestro Parodi will return to Opera Tampa to conduct Les Pêcheurs de Perles, to the Savannah Voice Festival for La Traviata directed by Fabrizio Melano, to The Atlanta Opera to revive Tomer Zvulun’s wildly successful production of Maria de Buenos Aires, and he will make his company debut at Opera Orlando with Les Contes d’Hoffmann.
Maestro Parodi was recently featured in the March 2018 edition of Opera News, which detailed his upcoming production of Rimsky-Korsakov’s The Snow Maiden with the Manhattan School of Music.  Reviewed as having “the most expressive conducting hands since Stokowski” by the New York Daily News, Argentinean born Parodi has worked with such companies as the Teatro Colón in Argentina, the Volgograd Opera in Russia, the Encuentros Internacionales de Opera in Mexico, the Tokyo International Vocal Arts Academy in Japan, and the International Vocal Arts Institute in Israel.

Maestro Parodi also conducted historically informed performances of Cavalli’s La Calisto, Monteverdi’s L’incoronazione di Poppea, and a Purcell’s Dido and Aeneas at the Bruno Walter Auditorium in Lincoln Center that Opera News praised as “a fully convincing presentation.”  Other recent credits include Donizetti’s Lucrezia Borgia and Bellini’s I Capuleti e i Montecchi for Buenos Aires Lírica in Argentina; Britten’s The Turn of the Screw for the Castleton Festival in Virginia and The Banff Centre in Canada; Ravel’s L’enfant et les sortilèges for The Juilliard School at Lincoln Center.


Fabrizio Melano

Melano, stage director, is an established figure on the international opera scene, having worked in leading opera houses throughout the world for more than 40 years. He began a long-standing relationship with the Metropolitan Opera in 1969 and has directed 21 operas there, among them seven new or revised productions.

He directed Tony Randall in his last play, Pirandello’s Right You Are, with the National Actors Theater and staged a new musical, Asylum, at the York Theater Company. In April 2010 Juilliard presented his production of Dialogues des Carmélites, and the Met and Juilliard his production and staging of Armide in February 2012.


Giuseppe Verdi

Verdi was born near Busseto to a provincial family of moderate means, and developed a musical education with the help of a local patron. Verdi came to dominate the Italian opera scene after the era of Vincenzo Bellini, Gaetano Donizetti, and Gioachino Rossini, whose works significantly influenced him. By his 30s, he had become one of the pre-eminent opera composers in history.

In his early operas, Verdi demonstrated a sympathy with the Risorgimento movement which sought the unification of Italy. He also participated briefly as an elected politician. The chorus “Va, pensiero” from his early opera Nabucco (1842), and similar choruses in later operas, were much in the spirit of the unification movement, and the composer himself became esteemed as a representative of these ideals. An intensely private person, Verdi, however, did not seek to ingratiate himself with popular movements and as he became professionally successful was able to reduce his operatic workload and sought to establish himself as a landowner in his native region. He surprised the musical world by returning, after his success with the opera Aida (1871), with three late masterpieces: his Requiem (1874), and the operas Otello (1887) and Falstaff (1893).

His operas remain extremely popular, especially the three peaks of his ‘middle period’: Rigoletto, Il trovatore and La traviata, and the 2013 bicentenary of his birth was widely celebrated in broadcasts and performances.