Talented leads made this an intense production at Milan’s storied Teatro alla Scala, wrestling between blighted love and poignant storytelling.
MILAN, ITALY—Never lacking in ambition, Milan’s famed Teatro alla Scala has arguably set itself a big challenge with its production of Verdi’s sprawling tragedy La Forza del Destino, opening again 59 years after its previous staging.
The opera was written during the middle of the composer’s career, and founded on a Spanish work by the Duke of Rivas. In the recent production that premieres for La Scala’s new season – a yearly tradition that falls into place on 7 December, in conjunction with St. Ambroeus’ celebrations – the opera brings in various elements with the centrifugal force that leans not only on one but two axes (namely, war and hope).
Photograph: Brescia e Amisano ©
Yet it’s a mark of the strength of Leo Muscato’s direction, with a starkly atmospheric setting that sets the plot in a concentric wheel, holding up the thrill of the conclusive glimpse of redemption. The opera ostensibly exemplifies the power of fate, in a way that two lovers – Leonora (interpreted by Russian soprano Anna Netrebko) and Álvaro (played by Brian Jadge) – are pursued over the years by Leonora’s brother, Don Carlo, who is obsessed by his desire to avenge his father’s accidental death.
In addition to wanting to stain his family’s honour caused by his sister attempting to elope with a Peruvian man. Around them, war is taking place, cheered on by those profiteering from the havoc.
Photograph: Brescia e Amisano ©
“This is an extremely complex opera,” explained Director Leo Muscato, “an opera that already from the script the libretto maintains a layered complexity. The acts are divided in different days, and each day is distant from one another, sometimes even years apart. The matter of this play is well-rounded, and we’ve tried to make it even more complex but with the sole objective of trying to tell this story that could also be exciting for the viewers who come to see it because of its background, which is the conflict. Right from the first scene, the war is only mentioned in our version, but it’s the key fil rouge, let’s say.”
Verdi’s piece highly resonates with the global turbulence that is currently shaping the world’s conflicts. “In the opera, Verdi has also poured elements of hope in it, especially in the very last moments of the finale,” offered Muscato, explaining how “Leonora gives Alvaro the chance to forgive himself, and when he does, there is a change of melody and a change of harmony in which he finally says to Leonora how much he’s redeemed. In short, we hope to be able to give this emotion to the spectator because it is a very dramatic work, it is an epic tale, a historical one as well, which fortunately alternates dramatic scenes and also funny scenes in some cases, but in the finale fortunately has an element of hope that we push to emphasise.”
Photograph: Brescia e Amisano ©
From American tenor Brian Jagde – who was brought in on short notice to replace German tenor Jonas Kaufmann, who dropped out due to personal reasons – to Ludovic Tezier and Anna Netrebko, leads were firing on all cylinders. “Success is the happiness of sharing this music with the audience and then, if it works, I’m happy because we shared a mutual experience together, brightly emphasizing the works of great composers.”
An emphasis that Dominique Meyer felt grounded in the very work of all trailblazing soloists. “To be able to tackle these roles, you cannot be a young man of 25,” concluded Meyer. “So when we are lucky enough to have a generation of these artists, we can only thank God and the nature of things.”
by Chidozie Obasi