. Sacrifice and sickness require a different sound: thready, grave, yet capable of febrile elation as she imagines her own resurrection and blesses the world that rejected her (Conrad, 2004, p. 40)."
By Act III, Scene 6, this transformation is complete. As the attached section of the opera's libretto demonstrates, Violetta is a woman who is no longer playful, who is in great pain, and who is ready to accept death. Only the appearance of Alfredo leads her to believe, albeit temporarily, that she can live. The poetry of the arias and duets they sing is emotional in the extreme - they are each other's "beloved," "joy" and will never 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 such sentiments in the duet beginning "Null'uomo o demone" which is sung first by Alfredo and then repeated by Violetta emphasizes their new-found belief in a future together (Hamilton, 2004). The sublime poetry of this duet, and the intensity of the music itself, are a stark contrast to the bedroom littered with the signs of illness in which the lovers are found. Violetta's feverish face gives her a suggestion of health, but the reality is that she is only enjoying a temporary remission from the disease that will shortly take her life. As Groos (1995) suggested, the rhythm of this duet suggests exultant feelings, renewed passion, and a belief in the power of love to overcome even a deadly disease. Both Alfredo and Violetta a
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