le
company. Stung by her degradation, Violetta goes home to die, and too
late Alfred learns the real sacrifice she has made. He hastens to
comfort her, but she dies forgiving and blessing him.

After a short prelude the first act opens with a vivacious chorus of
the guests at Violetta's supper, leading to a drinking-song ("Libiamo,
libiamo") in waltz time, sung first by Alfred and then by Violetta,
the chorus echoing each couplet with very pretty effect. After a long
dialogue between the two, closing with chorus, Violetta has a grand
scena which is always a favorite show-piece with concert artists. It
begins with an andante movement ("Ah! fors e lui"), expressive of the
suddenly awakened love which she feels for Alfred, with a refrain of
half a dozen measures in the finale which might be called the Violetta
motive, and then suddenly develops into a brisk and sparkling allegro
("Sempre libera") full of the most florid and brilliant ornamentation,
in which she again resolves to shut out every feeling of love and
plunge into the whirl of dissipation. This number, unlike most of
Verdi's finales which are concerted, closes the act.

The second act opens in the country-house with an effective tenor aria
("De' miei bollenti") sung by Alfred. In the next scene Germont
enters, and after a brief dialogue with Violetta sings a short
cantabile ("Pura siccome un angelo"), leading to a duet ("Dite alia
giovine") with Violetta which is full of tenderness. In the interview
which immediately follows between Germont and Alfred, the father
appeals to his son with memories of home in an andante ("Di Provenza
il mar") which in form and simplicity and simple pathos of expression
might almost be called a ballad. It is always a favorite, and is
usually considered the best number in the opera, notwithstanding its
simple melody. The next scene changes to the ball-room of Flora, and
is introduced with a peculiar chorus effect. A masked chorus of
gypsies, accompanying their measures with tambourines, is followed by
a second chorus of matadors, also in mask, who accent the time with
the pikes they carry, the double number ending with a gay bolero. The
act closes with a long duet between Violetta and Alfred, developing in
the finale, by the entrance of Germont, to a very strong and dramatic
trio.

The third act opens in Violetta's chamber with a reminiscence of the
introduction. As she contemplates her changed appearance in the
mirror, she bids