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Theater Bonn

Welsh National Opera

Dirección orquestal

Dirección orquestal (+1)

Will Humburg

Dirección de escena

Dirección de escena (+2)

David Pountney

Dirección coral

Dirección coral (+1)

André Kellinghaus

Soprano

Yannick-Muriel Noah

Doña Leonora

Barítono (+2)

Franco Vassallo

Don Carlos de Vargas

Tenor

George Oniani

Don Álvaro

Bajo (+4)

Pavel Kudinov

Padre Guardián

El marqués de Calatrava

Barítono (+3)

Enrico Marabelli

Fray Melitón

Mezzosoprano (+4)

Dshamilja Kaiser

Preziosilla

Curra

Chorus

Choir of the Bonn Theater

Extras

Extras of the Theater Bonn

Orchestra

Beethoven Orchester Bonn

Opernhaus

Iluminación

Fabrice Kebour

Repetidor(a)

Bajo (+3)

Igor Horvat

Pianista (+1)

Miho Mach

Diseño de vestuario

Escenografía (+1)

Marie-Jeanne Lecca

Asistente del director de orquesta

Asistente de dirección escénica

Marion Gutierrez

Asistente Del Maestro De Coro

Repetidor(a) (+1)

Ana Craciun

Asistente de decorador

Ansgar Baradoy

Assistante costumes

Nury Stefanie Willig

Miljan Milovic

Alcalde

Mezzosoprano (+1)

Joëlle Fleury

Eine Mutter

Ensayo Escénico

Robin Tebbutt

Coreografía

Coreografía (+1)

Michael Spenceley

Alexander Haim Soloway

Tenor (+1)

Tae Hwan Yun

Maestro Trabucco

Christopher Jähnig

Un cirujano

Tenor (+5)

Ralf Rachbauer

The main characters in Verdi’s reputed »accursed« opera are caught in a whirl of war and destruction. Don Alvaro in the process of eloping with Leonora is discovered by her father and Alvaro accidentally kills him. Before dying the father puts a curse on Leonora. Leonora’s brother Don Carlo resolves to pursue the two lovers and exact vengeance for his father’s murder. The characters over and over again try to evade their past, but it’s no use: the inexorable “forza del destino” (the power of fate) catches up with them.

After the relative cold reception of its premiere in 1862, Verdi immediately set about revising his opera, which, in its new version, in 1869, was triumphant at La Scala.  In this version, Verdi added the dramaturgically effective overture in which he from the start introduces the »fate« motif that later recurs in Leonora’s famous fourth act prayer/aria,»pace, pace mio dio« (Lord grant me peace).

With LA FORZA DEL DESTINO Sir David Pountney (I VESPRI SICILIANI, UN BALLO IN MASCHERA) concludes hjs Verdi trilogy for the Theater Bonn’s stage. In his staging of FORZA »fate« is concretely represented: It is a wheel of fortune set in motion by Preziosilla. Can fate be humane and compassionate or is it like a cold-blooded machine that can’t be stopped?

italiano