Opera Arias #2: La traviata's 'Sempre libera'

The cabaletta - meaning a simple aria with a repetitive rhythm - 'Sempre libera' triumphantly marks the end to the first act of perhaps Verdi's most acclaimed opera, and one of the most famous operas of all time, 'La traviata', which translates to 'The Fallen Woman'. The opera centres around the popular, rich courtesan Violetta Valéry, and how she gives up her lover Alfredo to save his family's honour, as her association with him upsets his sister's marriage plans. Violetta leaves without ever telling Alfredo the truth; some months later, she falls ill to a disease (I believe it is tuberculosis). On her deathbed, Alfredo rushes to her side, and begs for forgiveness, which Violetta grants him. Moments later, she dies.

American/Greek soprano Maria Callas as Violetta, ca. 1958

'Sempre libera' translates to 'Always Free'. It is sung by Violetta in solitude, soon after Alfredo declares that he loves her. Fascinated by this pure expression of love, and the fact that love is against the nature of a courtesan. After singing the slower, more philosophical aria 'Ah, fors'è lui', or 'Ah, Perhaps He is the One', Violetta bursts into 'Sempre libera', the happier, faster cabaletta, detailing how she wishes to - and the constraints of her profession demand her to - live always free, day in day out, and her thoughts 'should always fly'.

Australian soprano Emma Matthews as Violetta, 2012

'Sempre libera' is sung in the key of Ab major; being in a major key already gives the impression of happiness and joy. This is further accentuated by the performance direction 'assai brillante' (very bright) written above the first phrase of the cabaletta. The tempo in the beginning piece is another instrument in detailing the quick, dazzling, delightful nature of the song; the time signature is 6/8, with eighty-four crochet beats per minute. This stays the same until Alfredo's content voice is heard - his voice is almost echoing, haunting Violetta. Here, the time signature changes to 3/8, and the performance direction is simple 'andantino', which means slightly faster than the common performance direction 'andante'; 'andante' simple translates to 'at a walking pace'. This is clever symbolism, as Alfredo himself is walking, and singing at such a pace. This rapidly transitions to common time, or 4/4, as Violetta begins singing once again. Her words "Folly! Folly!" indicate her feelings as to Alfredo's declaration of love. She cannot understand why such a man would feel such things towards a woman who is, essentially, an upper class prostitute. There are many examples of fast coloratura runs, all loud and bright, showing that Violetta is enjoying her life, but things won't stay the same for long, as implied by the minor key diminished chord that she sings at the end of each phrase. Violetta's ringing soprano Cs further emphasise her felicity, but Alfredo's short passages abruptly snap her out of her reverie. Determined to prove to herself that she really is happy, and is in her prime, she begins to sing even higher in the modified repeat of the first verse; here she reaches top D flat, and does many more long runs and trills. There is an optional Eb6 as the penultimate note of the cabaletta - I have head it performed by some opera singers who play Violetta, although some don't, preferring to stick to the way the role is traditionally sung. An example of the Eb6 can be heard here, performed by Australian soprano Emma Matthews - an example of the Eb6 not being present can be heard here, with Romanian soprano Angela Gheorghui singing Violetta. Personally, I prefer when the Eb6 is sung, as I find it the epitome of a successful 'Sempre libera'; it shows the lengths Violetta goes to show that, even though she has just been away from society for a long while as the result of plaguing illness which she eventually succumbs to, she is rich, successful, and beautiful, with or without Alfredo. While Alfredo sings he short verse, Violetta utters the words "Oh! Oh! Love! Madness! Euphoria!" - this betrays 'Sempre libera', which Violetta sings to show she has no strings attached to her, she is truly free and aimless. In those five words, she reveals her true feelings; she is very much intrigued to see Alfredo, even though she knows it is 'madness', as a courtesan shouldn't fall in love with anyone from the upper class.

Romanian soprano Angela Gheorghui as Violetta, ca. 1994

'La traviata' was first performed on 6th March 1853 in Italy, at the La Fenice opera house in Venice. Verdi originally entitled the opera 'Violetta', the first name of the title character, but then changed it to 'La traviata', what Violetta realises herself to be in the first scene of Act II. Verdi himself appreciated his work - he felt technically, his opera 'Rigoletto' was better, but from the eyes of an amateur, 'La traviata' emotionally resonated much more. I find this to be absolutely true - 'La traviata' may be based on one of the clichéd plot lines (two people meet and fall in love, but then one has to sacrifice the other), but Verdi's simple, dramatic, and hypnotic telling of this ensures that 'La traviata' will always have a place among the most powerful and celebrated operas in history.

Albanian soprano Ermonela Jaho as Violetta, 2010

My favourite version of 'Sempre libera': Australian soprano Emma Matthews's performance, from 2012. Aside from her hitting a magical, phenomenal high Eb at the end of the piece, she fills it with Violetta's trademark joy and happiness, yet includes an underlying tone of sadness that never mellows. It is linked in her name; a gif from the performance can be found below.

Until next time,
India