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Sunday Times, 31 March 2019 |
Hugh Canning |
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Verdi: La forza del destino, London, ab 21. März 2019 |
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La forza del destino, Royal Opera
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A masterly Antonio Pappano leads the Royal Opera in a triumphant Forza
During 27 years of visits to Covent Garden, I can count the great Verdi
nights on the fingers of one hand: the 1976 visit of Abbado's La Scala
company with an almost unbeatable cast in Simon Boccanegra: the 1980 ROH
revival of Otello conducted by Kleiber with Domingo and Price, and revivals
of Luisa Miller with Katia Ricciarelli singing opposite Domingo, Carlo
Bergonzi and Jose Carreras. I would put the ROH production of Le Forza del
destino in that august company., for Antonio Pappano's masterly conducting
of Verdi's most sprawling, sometimes incoherent mature work...….Loy's
thoughtful, occasionally brash staging meanwhile, first seen in Amsterdam in
2017 succeeds in making sense of the actions long time span and far flung
locations. Loy's masterstroke is to direct the drama in basically, a single
modular set, the home of the Calatrava family, whose lives are blighted by
the power of fate, the force of destiny.
In the long
overture.....showing the Calatrava family at different stages of their life.
When the children are small, the youngest has a seizure and their mother is
still there, but when Carlo and Leonora are adolescents the mother and
younger sibling have disappeared. Loy implies that the family have already
suffered fatal losses, preparing the ground for the fatal killing of their
father, and Carlo's lifelong pursuit of revenge on his sister and her lover,
the guilt wracked Don Alvaro. None of this is in Piave's libretto, but Loy
has clearly investigated its source, a long derelict Spanish play by Angel
de Saavvedra in which Leonora has two brothers, both killed in their
vendetta. At the end of the opera she returns to the scene of her father's
killing disguised as a hermit. Loy's psychological direction might benefit
from doubling the bass roles of Calatrava and Padre G. as in Kusej's Munich
staging, suggesting these father figures as split personalities of Leonora's
imagination. …
…...The true stars are, however, Pappano conducting
this mid Verdi with customary drive and momentum, yet lingering over
orchestral details-the superb clarinet obbligato to Don Alvaro's great scene
deserves special mention - with his pliant shaping of these great melodies,
and second the principals. AN voluminous voice sounds effortless as Leonora,
one of the most demanding of Verdi's great soprano roles lavish in her
gradation of dynamics, with ravishing high pianissimi, and rising to
thrilling heights in her magnificent maledizioni at the climax of her famous
act 4 aria Pace Pace. I'd like to say she is at her peak in this lirico
spinto role, vocally in complete command of Verdi's music, even if her
declamation of the text could be more incisively delivered. She has sung
once before with JK, in Traviata at Covent Garden in 2006 when she was
already a star, and he was on the way up. They make a compelling romantic
pair, she radiant, if anxious, he brooding and dishevelled, dark toned as
Alvaro. This role is less of a stretch for Kaufmann than Otello, and Pappano
encourages him to respect Verdi's p and pp markings. I doubt any Italian
tenor could match him for musicianship, even if he lacks a native's trumpet
tone. His baritone rival Ludovic Tezier is Netrebko's technical equal and
vocally he is well matched to Kaufmann in their several duets, even if he
cuts a less charismatic figure on stage as Don Carlo. The cast of principals
is competed by AC as Melitone, a perfect fit for this grumpy basso role, and
VS as the camp follower Preziosilla. Loy makes her the cheerleader of the
big choral scene on the battlefield, encouraging a lively sextet of top hat
wearing dancers, a different sort of camp follower choreographed by
...Pichler in appropriate showbiz style. It makes an entertaining interlude
of Verdi's sometimes embarrassingly jaunty music for a battle scarred
landscape, A Royal Opera triumph.
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