Admin

Theater Bonn

Welsh National Opera

Direttore d'orchestra

Direttore d'orchestra (+1)

Will Humburg

Regia

Regia (+2)

David Pountney

Direzione del coro

Direzione del coro (+1)

André Kellinghaus

Soprano

Yannick-Muriel Noah

Leonora

Baritono (+2)

Franco Vassallo

Don Carlo of Vargas

Tenore

George Oniani

Don Alvaro

Basso (+4)

Pavel Kudinov

The Father Superior

The Marquis of Calatrava

Baritono (+3)

Enrico Marabelli

Fra Melitone

Mezzosoprano (+4)

Dshamilja Kaiser

Preziosilla

Curra

Chorus

Choir of the Bonn Theater

Extras

Extras of the Theater Bonn

Orchestra

Beethoven Orchester Bonn

Opernhaus

Luci

Fabrice Kebour

Maestro ripassatore

Basso (+3)

Igor Horvat

Pianista (+1)

Miho Mach

Costumi

Scenografia (+1)

Marie-Jeanne Lecca

Assistente del direttore d'orchestra

Assistente alla regia

Marion Gutierrez

Assistente Del Maestro Del Coro

Maestro ripassatore (+1)

Ana Craciun

Assistente scenografo

Ansgar Baradoy

Assistente costumista

Nury Stefanie Willig

Miljan Milovic

Mayor

Mezzosoprano (+1)

Joëlle Fleury

Eine Mutter

Prova Scenica

Robin Tebbutt

Coreografia

Coreografia (+1)

Michael Spenceley

Alexander Haim Soloway

Tenore (+1)

Tae Hwan Yun

Maestro Trabuco

Christopher Jähnig

A surgeon

Tenore (+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