For "La forza del destino", Verdi created one of his most famous melodies, the "fate" motif that permeates the whole of the score. Music and action alternate in masterly fashion between large-scale crowd scenes and intimate interiority, in that way illustrating Verdi's real theme: the manner in which fallible human beings are destroyed by a cruel fate.
La forza del destino (The Force of Fate), premiered in St. Petersburg 1862, is one of Verdi’s most important opera compositions. Its plot is complicated and combines a sequence of interlaced unfortunate strokes of fate. Donna Leonora is the centre of events, together with her brother Don Carlo di Vargas and her lover Don Alvaro. The story was originally set in 18th century Spain, however the French director Nicolas Joël established the action in a slightly later period, in the time of the Empire, the early 19th century.
Verdi's "La Forza del Destino" is one of the most difficult of his operas to cast properly. The demands of the music for the 5 principals are quite formidable, and require a command of vocalism that only the greatest singers can offer. It further requires the leadership of an immaginative conductor to bring cohesion to "Forza's" somewhat sprawling score. This recording towers over the others in best meeting the aforementioned 'criteria'. Maestro James Levine demonstrates his mastery of the score throughout, creating intimacy in the more personal passages of the opera (no more so than in the moving Convent Scene), contrasted with the bustling energy of scenes in the countryside and battlefield. His conducting has the "sweep" and verve so neccessary to illuminating and energizing the overall (Russian-influenced?) darkness of this turbulent score…
It is appropriate that the first recording of the first version of Forza should come from St Petersburg, where the work had its premiere in 1862. However, whilst the premiere was predominantly an Italian affair, this set is given entirely by Russian artists. The differences between this version and Verdi's 1869 revision for La Scala are marked: they are delineated by two essays in the accompanying booklet but even more discerningly in Julian Budden's indispensable The Operas of Verdi (in this case Vol. 2, Cassell: 1978). So it isn't necessary for me to rehearse here all the changes (even if I had the space to do so), only the main ones.
“…Tebaldi proved at the Maggio Musicale at Florence in 1953 under Mitropoulos that Leonora was to be among her most successful roles, and here she confirms the fact in spades with her lustrous, effortlessly shaped and eloquent traversal of the role. By her side she has the incomparable Corelli, singing his first Don Alvaro, and revealing that his brilliant, exciting yet plangent tone is precisely the right instrument to project Alvaro's loves and sorrows. At this stage of his career his thrilling upper register and incisive delivery of the text were at their most potent, as he makes abundantly clear in aria and duet. As his antagonist, Bastianini sings with the kind of Verdian élan seemingly now extinct among his breed. He may not be the most subtle of Verdian baritones, but here his macho approach ideally suits Don Carlo's vengeful imprecations.” (Gramophone Classical Music Guide)
“This marks the final offering from Opera Rara's laudable restoration of BBC broadcasts from the 1970s and '80s of Verdi's first thoughts on specific operas, and it is quite up to the standard of the series. It differs only in being given without an audience, and was broadcast two years after the recording. On disc we know the 1862 original Forza from Gergiev's Philips set recorded, appropriately enough, in St Petersburg. That version is by and large finely cast with Russian singers and excitingly conducted, but this one, featuring British artists and one North American, need hardly fear the comparison. John Matheson may be a slightly more measured interpreter than Gergiev but he is perhaps even more adept at disclosing the many subtleties in shaping the slightly sprawling score as a unified whole. His orchestra provides fine playing – special praise for the first clarinet before Alvaro's Act 3 solo – and the BBC Singers nicely characterise their roles.
Martin Kušej’s thrilling contemporary interpretation of Verdi’s late period opera proved the perfect vehicle for the Bavarian State Opera’s dream team of Jonas Kaufmann and Anja Harteros. The imposing sets’ references to terrorism and the implosion of modern civilization bring the opera’s inherent drama to a breathtaking pinnacle. Specialist promo & marketing activity.
This John Dexter production was premiered in 1975 and filmed in 1984. The incomparable Leontyne Price delivered a series of unforgettable performances as Leonora, imprinting the role with the uniqueness of her voice and her superlative acting. James Levine's conducting was hailed by The New York Times for being "full of drive and fire" with "the grandeur of the magnificent score coming through."