OPERA OPEN 2017: LA FORZA DEL DESTINO

29.08 Tuesday 20:30H. ANCIENT THEATRE

LA FORZA DEL DESTINO – Verdi
Production of Teatro Regio Di Parma Verdi Festival
Conductor: Dian Tchobanov
Director: Stefano Poda
Soloists, orchestra, choir and ballet of Opera Plovdiv

Habent sua fata libelli (books have their destiny); operas also have their destiny, especially if their title is The Power of Fate (La forza del destino). In 1860 Giuseppe Verdi is just starting political career – he is elected member of the new Italian Parliament from San Donnino, Busseto Province. The reason for this sudden change in his life is of course the patriotism of the Maestro, as well as his liking of Count di Cavour, who started the restoration of the Italian State after the Austrian rule. Verdi, however, quickly becomes tired with this unusual activity, and what saved him from it, is the proposal of the tenor Enrico Tamberlik to compose a new big opera for The Bolshoi Kameny Theatre of Saint Petersburg (today’s Mariinsky Theatre). The composer takes the order straight away, and while discussing the plot of the opera with the patrons, Count Cavour suddenly dies, and this sad event is the reason for Verdi to give up his political career, and to focus on his true calling – writing operas. The original idea is Ruy Blas, by Victor Hugo, but the administration of the Russian theatre does not approve it, probably due to the too passionate, therefore – disturbing romanticism of the storyline. In the end, Verdi insists on the drama Don Álvaro o la fuerza del sino by the Spanish writer and politician Angel de Saavedra, the Duke of Rivas, as the libretto is written by his loyal librettist Francesco Maria Piave. The libretto is so elaborate and incredible, that only superhuman, i.e. – divine interventions, could explain a number of odd narrative twists. Miraculous rescues, several pseudo-deaths, fatal geometry of fate, sudden appearances and recognitions – the complete range of stage properties favorite to the Early Romanticism, and the so-called “rescue opera”, are here. This, however, does not in the least prevent Verdi from creating a masterpiece, which uses the power of the musical inventiveness and passion, to overcome any flaws in the libretto. In fact, what for the normal human rationality may seem confusing and illogical, finds its justification in the theatrical logic of the excess, the extraordinary; what is an opera without secrets and extremes of feelings?

The opera is staged on 10 November 1862 in Sankt Petersburg. Despite the fact, that the current feelings of the Russian musicians do not forebode success for a completely Italian opera, moreover ordered by the Court, it is received with great approval. The success, however, does not prevent the author from seeing its defects, and after its unsuccessful premiere in Rome, under the title Don Alvaro, and a number of performances in other countries, Verdi is convinced in the poor fate of his work, and starts decisive revision. He is assisted in this by Antonio Ghislanzoni, the future librettist of Aida. The dramaturgy of the acting is refined and consolidated by shifting, adding or cutting of scenes – at the end of Act III is included a scene from the Schiller’s Wallensteins Lager, a new overture is also composed, which is still one of Verdi’s best symphonic pieces – a real fantasy – a synopsis of what is coming next. His good taste tells the author, that the Don Alvaro’s melodramatic jump in the ravine is not a particularly good decision, and in the new version he is spared, which shifts the whole finale towards repentance and humbleness before the Power of Fate. Fanaticism and obsession are among the main protagonists of the opera – dressed as different characters. The uncompromising Don Carlos, who cannot even die until he commits his revenge, the quiet fanaticism of Padre Guardiano and the pilgrims, the feverish obsession of Leonora with her guilt and her split between ecstasy and fatalism, Don Alvaro as innocent destroyer-angel… a psychological analysis would bring to the surface more than wonderful musical findings, it would show the great depth of the Verdi’s inspiration.

The artists, whose fate has ordained them to sing in this opera, are required to have a lot of power, and not only vocal, but overall artistic strength, so they can meet the challenges, which for some performers have turned out to be really fateful.

At first glance, one can notice the references to the narrative style of Don Juan of Da Ponte/ Mozart, while more thorough listening reveals that not only Ghislanzoni is the connection with the forthcoming Aida – the colorful language, the ambiguous musical features, the symphonic unfolding of the scenes, the right proportions between tragedy and burlesque, contemplation and dynamics, prayer and battle, forebode the new height, which Verdi will