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Theater Bonn

Welsh National Opera

Direction d'orchestre

Direction d'orchestre (+1)

Will Humburg

Mise en scène

Mise en scène (+2)

David Pountney

Direction de choeur

Direction de choeur (+1)

André Kellinghaus

Soprano

Yannick-Muriel Noah

Donna Leonora

Baryton (+2)

Franco Vassallo

Don Carlo di Vargas

Ténor

George Oniani

Don Alvaro

Basse (+4)

Pavel Kudinov

Père Guardiano

Marquis de Calatrava

Baryton (+3)

Enrico Marabelli

Frère Mélitone

Mezzo-soprano (+4)

Dshamilja Kaiser

Preziosilla

Curra

Chorus

Choir of the Bonn Theater

Extras

Extras of the Theater Bonn

Orchestra

Beethoven Orchester Bonn

Opernhaus

Lumières

Fabrice Kebour

Répétiteur

Basse (+3)

Igor Horvat

Pianiste (+1)

Miho Mach

Costumes

Décors (+1)

Marie-Jeanne Lecca

Assistant du chef d'orchestre

Assistant mise en scène

Marion Gutierrez

Assistant Chef De Chœur

Répétiteur (+1)

Ana Craciun

Assistante scénographe

Ansgar Baradoy

Assistant costumes

Nury Stefanie Willig

Miljan Milovic

Un alcade

Mezzo-soprano (+1)

Joëlle Fleury

Eine Mutter

Répétition Scénique

Robin Tebbutt

Chorégraphie

Chorégraphie (+1)

Michael Spenceley

Alexander Haim Soloway

Ténor (+1)

Tae Hwan Yun

Maître Trabuco

Christopher Jähnig

Un chirurgien

Ténor (+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?

italien