Admin

Theater Bonn

Welsh National Opera ( WNO )

Conductor

Conductor (+1)

Will Humburg

Stage director

Stage director (+2)

David Pountney

Chorusmaster

Chorusmaster (+1)

André Kellinghaus

Soprano

Yannick-Muriel Noah

Leonora

Baritone (+2)

Franco Vassallo

Don Carlo of Vargas

Tenor

George Oniani

Don Alvaro

Bass (+4)

Pavel Kudinov

The Father Superior

The Marquis of Calatrava

Baritone (+3)

Enrico Marabelli

Fra Melitone

Mezzo-soprano (+4)

Dshamilja Kaiser

Preziosilla

Curra

Chorus

Choir of the Bonn Theater

Extras

Extras of the Theater Bonn

Orchestra

Beethoven Orchester Bonn

Opernhaus

Lighting designer

Fabrice Kebour

Répétiteur

Bass (+3)

Igor Horvat

Pianist (+1)

Miho Mach

Costume designer

Set designer (+1)

Marie-Jeanne Lecca

Assistant Conductor

Assistant Stage Director

Marion Gutierrez

Assistant Chorusmaster

Répétiteur (+1)

Ana Craciun

Assistant Set Designer

Ansgar Baradoy

Assistant Costume Designer

Nury Stefanie Willig

Miljan Milovic

Mayor

Mezzo-soprano (+1)

Joëlle Fleury

Eine Mutter

Stage Rehearsal

Robin Tebbutt

Choreographer

Choreographer (+1)

Michael Spenceley

Alexander Haim Soloway

Tenor (+1)

Tae Hwan Yun

Maestro Trabuco

Christopher Jähnig

A surgeon

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?

italiană