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Theater Bonn

Welsh National Opera

Dyrygent

Dyrygent (+1)

Will Humburg

Reżyseria

Reżyseria (+2)

David Pountney

Przygotowanie chóru

Przygotowanie chóru (+1)

André Kellinghaus

Sopran

Yannick-Muriel Noah

Donna Leonora

Baryton (+2)

Franco Vassallo

Don Carlo di Vargas

Tenor

George Oniani

Don Alvaro

Bas (+4)

Pavel Kudinov

Padre guardiano

Il Marchese di Calatrava

Baryton (+3)

Enrico Marabelli

Fra Melitone

Mezzosopran (+4)

Dshamilja Kaiser

Preziosilla

Curra

Chorus

Choir of the Bonn Theater

Extras

Extras of the Theater Bonn

Orchestra

Beethoven Orchester Bonn

Opernhaus

Reżyseria światła

Fabrice Kebour

Korepetytor /- ka

Bas (+3)

Igor Horvat

Pianista (+1)

Miho Mach

Kostiumy

Scenografia (+1)

Marie-Jeanne Lecca

Asystent dyrygenta

Asystent Reżysera Sceny

Marion Gutierrez

Asystent Dyrygenta Chóru

Korepetytor /- ka (+1)

Ana Craciun

Asystent scenografa

Ansgar Baradoy

Asystent Projektanta Kostiumów

Nury Stefanie Willig

Miljan Milovic

Un alcade

Mezzosopran (+1)

Joëlle Fleury

Eine Mutter

Próba Sceniczna

Robin Tebbutt

Choreograf

Choreograf (+1)

Michael Spenceley

Alexander Haim Soloway

Tenor (+1)

Tae Hwan Yun

Mastro Trabuco

Christopher Jähnig

Un chirurgo

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?

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