This article concerns a lapse of voice: a sliver of silence in the final scene of Act I of La traviata. It is marked in the score as the pause at the conclusion of Violetta’s recitative, ‘Follie!... follie!...’, and functions musically as the launch into the final ‘cabaletta brillante’, ‘Sempre libera’ (see Ex. 1). My inclination to attend to this silence may seem contrary in the context of such abundant musicality. However, Violetta’s momentary suspense of lyricism carries some associations both in and around the opera that invite attention. It is that delicate thread of a history of vocal rupture which I will pursue here. My curiosity about this passage arose partly by chance, in the context of teaching an undergraduate survey on the history of opera. That Verdi’s La traviata proved so popular among students is no surprise. In the era in which I first taught this opera, its appeal was further enhanced by one particular Violetta, Angela Gheorghiu, cast in Richard Eyre’s Royal Opera House production, conducted by Georg Solti and recorded live for Decca in December 1994. The production is well known as the soprano’s break-out performance, and while the qualities of the singing and production were reason alone to assign it to the students, some other, rather more banal, motivations influenced my selection. Gheorghiu’s appearance, exaggerated by the costume, lighting and makeup, make her the virtual identikit of Dumas fils’s portrait of Marguerite Gautier, thus neatly embodying the history of the heroine and her movement from life to novel, to play and to opera libretto. In addition, Gheorghiu’s youthful Violetta was also ‘relatable’ to my Verdian first-timers – a member of the students’ historical peer-group, eminently suited to deepening their sympathy to the opera, its characters and their dreadful story. It was in the course of

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维奥莱塔（Violetta），历史学家威尔第（Vitoretta），《 Sempre libera》（维奥莱塔（Sempre libera）），特拉维塔（La traviata），第一幕（1853）

本文涉及一种声音的失落：《 La traviata》第一幕的最后一幕中一片寂静。在乐谱中，它被标记为Violetta朗诵口号“ Follie！... follie！...”结束时的停顿，并在音乐上起到了最终“ cabaletta brillante”，“ Sempre libera”的推出的作用（请参阅示例1）。在如此丰富的音乐背景下，我倾向于保持这种沉默似乎是相反的。但是，维奥莱塔（Violetta）短暂的抒情性悬念在歌剧中和歌剧中都带有一些联系，引起人们的注意。我将在这里继续探讨声带破裂史的微妙线索。我对这段经文的好奇心部分是出于偶然的，这是在教授本科生关于戏曲历史的调查的背景下进行的。威尔第的《 la traviata》证明在学生中如此受欢迎并不奇怪。在我第一次教授这部歌剧的时代，一个特别的维奥莱塔（Violetta）的安格拉·格奥尔基（Angela Gheorghiu）进一步提高了他的吸引力，该剧由理查德·艾尔（Richard Eyre）的皇家歌剧院制作，由格奥尔格·索尔蒂（Georg Solti）录制，并于1994年12月为Decca现场录制。被称为女高音的突破表现，而歌唱和制作的素质仅是将其分配给学生的理由，但其他一些更平淡的动机却影响了我的选择。Gheorghiu的外貌被服装，灯光和化妆所夸大，使她成为Dumas fils玛格丽特·高铁（Marguerite Gautier）肖像的虚拟身份，从而巧妙地体现了女主人公的历史以及她从生活到小说，从戏剧到歌剧和歌剧表演的移动。此外，格奥尔基乌年轻的维奥莱塔（Violetta）与我的Verdian初学者也“有联系”，这是学生历史上同龄人的成员，非常适合加深他们对歌剧，其人物和可怕故事的同情。那是在