As Peter Conrad (2004) commented right after hearing 1 version of the opera how the challenge for ones artist performing as Violetta is enormous.
She need to alter herself from the starting of the opera to its conclusion, moving away from a pretty shallow persona accompanied by a showy, flighty coloratura tirade into a woman much more "truly impassioned, weighted by a desperate yearning. Sacrifice and sickness need one more sound: thready, grave, yet ready of febrile elation as she imagines her very own resurrection and blesses the globe that rejected her (Conrad, 2004, p. 40)."
By Act III, Scene 6, this transformation is complete. As the attached section on the opera's libretto demonstrates, Violetta is really a woman who is no longer playful, who is in very good pain, and who is in a position to accept death. Only the appearance of Alfredo leads her to believe, albeit temporarily, that she can live. The poetry from the arias and duets they sing is emotional in the extreme - they are each other's "beloved," "joy" and will in no way be divided by man or devil. Together, as this optimistic exchange of new vows suggests, the lovers can overcome anything, including death.
The repetition of these kinds of sentiments inside duet commencing "Null'uomo o demone" which is sung first by Alfredo and then repeated by Violetta emphasizes their new-found belief inside a future together (Hamilton, 2004). The sublime poetry of this duet.
Conrad (2004) suggests that this scene with the ora sets the stage for your conclusion where rebirth inside full embrace of Alfredo's adore will likely be followed by death. The lovers were granted a brief time of hope, signaled by their fervor once Alfredo bursts into Violetta's sick room. They can rise vocally around the physical limitations from the dying woman, who at this stage with the opera is no loner the vibrant, beautiful and perfectly groomed courtesan and "party girl" she was in earlier scenes.
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