Let's talk about music. Verdi. The power of fate. Musical Theater named after. Stanislavsky and Nemirovich-Danchenko. Press about the performance Duet of Alvaro and Carlos in Russian

Especially loved by the Russian public, the opera “Force of Destiny” cannot be considered one of the most popular in Russia. Meanwhile, domestic listeners have every reason to have a special attitude towards this work - after all, the composer created it specifically for staging in Russia!

In 1861, G. Verdi was a popular composer, whose fame had long transcended the borders of his native country; it also thundered in Russia. Since the season of 1845-1846. The Italian troupe presented the opera “The Lombards in the First Crusade” in St. Petersburg; many operas by G. Verdi were staged in Russia every year, and the public’s love for them did not wane. For several years they were performed only by Italian troupes, but in 1859 the opera “Il Trovatore” was staged by Russian performers.

And in 1861, G. Verdi received an order for an opera from the Bolshoi Kamenny Theater in St. Petersburg. The choice of plot is left to the composer himself, and he draws attention to V. Hugo’s drama “Ruy Blas” - but, unfortunately, it turns out that this work is banned in Russia. G. Verdi, as he admitted, “flipped through a great many dramatic works”, before settling on the drama “Don Alvaro, or the Force of Destiny”. Its author, the Spanish writer Angel Pérez de Saavedra, was expelled from Spain for participating in the War of Independence. As in the drama "Ruy Blaz", in "Force of Destiny" the theme of the contradiction between love and social prejudices sounded - not only class, but also racial: Don Alvaro comes from South America, a descendant of an ancient Inca family, is in love with Leonora, the daughter of a Spanish aristocrat. Fate, embodied by the curse of Leonora's father, whom Alvaro accidentally kills, constantly affects the heroes, leading to the death of both the lovers and Leonora's revenge-seeking brother.

In its gloomy mood, the opera “Force of Destiny” echoes, and the characters resemble the characters of the early operas of G. Verdi: these are not so much living people with developing characters, but the embodiment of certain feelings: Leonora - suffering, her brother Carlos - the thirst for revenge. IN to a greater extent Alvaro's character is developed.

Each act of the opera can be divided into two parts, in one of which the characters act, and in the other - the chorus: merchants, soldiers, monks, beggars. These everyday episodes are certainly the author’s luck. The composer succeeded and minor characters. Fra Melitone is especially interesting. Episodic comedic characters had previously appeared in the works of G. Verdi (just remember the carefree page Oscar from), but for the first time in his opera an example of common people's rude humor appears before the public - a character “originally” from opera buffa. Musical characteristics Fra Melitone anticipates Falstaff.

The premiere of the opera “Force of Destiny” took place on November 10, 1862. The first three performances, according to G. Verdi, took place “in a crowded theater.” The fourth performance was attended by the emperor himself Alexander III(he was unable to attend the first performance because he was ill). The Tsar personally congratulated G. Verdi, a few days later the composer was awarded the Imperial and Royal Order of St. Stanislav 2nd degree.

But only the first performances were successful - soon the box office fell, and the audience increasingly expressed dissatisfaction. There was no shortage of negative reviews from critics - the author was reproached for the fragmentation of the libretto, which influenced the music of the opera. A certain role in the rejection of the opera was played by the fact that the works of Russian composers were reluctantly staged on the domestic stage, the funds allocated for them were meager, while a huge sum for those times was spent on the luxurious production of the opera “Force of Destiny” - 60 thousand rubles.

However, the critics’ reproaches cannot be considered completely unfounded. G. Verdi himself came to the idea of ​​​​the need to rework the opera - and in 1869 a new version was staged at the La Scala Theater in Milan. While G. Verdi was working on it, F. Piave was seriously ill, so the libretto was revised by another playwright, Antonio Ghislanzoni (he later wrote the libretto for another opera by G. Verdi, “Aida”). In the Milanese version, the short orchestral introduction was replaced by a dramatic overture - one of the best operatic overtures by G. Verdi, based on the melodic material of several arias. The ending was a little less tragic: Alvaro, having heeded the admonitions of the dying Leonora and Father Guardiano, refuses suicide, submitting to the power of fate. The opera now concluded with a soulful trio combining declamatory expressiveness and melodic beauty. It was the Milanese version that entered the repertoire of opera houses around the world; the opera “Forces of Destiny” is especially popular in Italy.

Musical seasons

Don Carlos de Vargas, his son is a baritone.

Don Alvaro, Leonora's admirer - tenor.

Kurra, Leonora's maid - mezzo-soprano.

Preciosilla, a young gypsy - mezzo-soprano.

Mayor- bass

Maestro Trabuco, mule driver, peddler, gossip - tenor.

Padre Guardiano, Franciscan - bass.

Fra Melitone, Franciscan - baritone.

Doctor- bass

Peasants, servants, pilgrims, soldiers, monks- chorus

Act I

House of the Marquis Calatrava. In the evening, the Marquis and his daughter Leonora are sitting in the living room, the Marquis tells his daughter about his love and care, mentioning that he managed to ward off the unworthy suitor for her hand, Alvaro, from the house. Meanwhile, that night Leonora and Alvaro prepare to escape. After her father leaves, Leonora has only a few minutes left to mentally say goodbye to the house (“ Me pellegrina ed orfana» - « Homeless orphan"). An enthusiastic Alvaro appears, ready to take Leonora away (“ Ah, per sempre, o mio bell'angiol"), but Leonora begs him to postpone his flight for at least one day in order to say goodbye to his father. Alvaro reproaches Leonora for neglecting his love, because he is just a half-breed Indian. Struck by the reproach, Leonora is ready to flee (“ Son tua, son tua col core e colla vita! - “yours, yours with all your heart and life”), but then the Marquis Calatrava bursts into the room with armed servants. Alvaro declares to the Marquis that Leonora is innocent and throws the pistol on the floor, not wanting to raise his hand against his beloved’s father. The pistol fires spontaneously, and the marquis, struck to death, dies, cursing his daughter. In the confusion, Alvaro manages to escape.

Act II

First scene (tavern)

The tavern is filled with muleteers. Among them is Trabucco, who is accompanied by Leonora, dressed in a man's dress, who immediately goes upstairs. Her brother Carlos also comes here in search of Leonora, vowing to kill his sister and her seducer. In vain, Carlos tries to find out the identity of Trabucco's companion - the latter laughs it off and then snaps. The sutler Preziosilla enters the tavern, surrounded by admirers, calling on everyone present to go to war with the Germans in Italy (“ Al suon del tamburo» - « Drum beat"). The stormy fun is interrupted by pilgrims going on pilgrimage; everyone present joins in prayer (“ »).

Carlos's questions raise a counter question about who he is. Carlos tells the story of the murder of his father, while, however, calling himself Pereda, a friend of Carlos, and the unsuccessful search for his adulterous sister and her seducer (“ Son Pereda son ricco d'onore"). Leonora hears this story and understands that there is no mercy to be expected from her brother.

Second picture (monastery courtyard)

Dressed in a man's dress, Leonora arrives at the monastery at night (“Sono giunta! Grazie, o Dio!”). She is in confusion, only in the monastery, in strict solitude, does she hope to escape from her brother’s revenge and beg God’s forgiveness for her involuntary participation in her father’s death. She is sure of Alvaro's death. Melitone responds to the knock on the door, not wanting to let the stranger in. Then Abbot Guardiano comes out and agrees to talk with Leonora alone (“Or siam soli” - “We are alone”). Leonora tells Guardiano her story (“Infelice, delusa, rejetta” - “Unhappy, deceived, abandoned”) and begs for shelter in a secluded cave. Guardiano instructs Melitone to gather the brethren in the church to participate in the tonsure of the new brother.

Third picture (monastery)

« Il santo nome di Dio Signore» - « Holy name of the Lord“Guardiano informs the brethren that a hermit will live in a secluded cave. No one except Guardiano is allowed to approach the cave (“ Maledizione» - « A curse"). In case of danger, Leonora will notify the monks by ringing the bell.

Act III

First picture (forest near Velletri)

Contrary to Leonora's opinion, Alvaro is alive and under a false name (Don Federico Herreros) serves in the Spanish army in Italy. Moving away from the card-playing soldiers (“ Attenti al gioco, attenti, attenti al gioco, attenti"), Alvaro yearns for broken love (" » - « Life is hell for the unfortunate"), wishes to die and be reunited with Leonora, long dead, in his opinion (" Leonora mia, soccorrimi, pietà» - « Leonora, have mercy"). Suddenly, a fight breaks out in the camp, Alvaro intervenes in it and saves the life of Don Felice Bornos' adjutant, under which name Carlos is hiding. Alvaro and Carlos, under false names, swear eternal friendship (« Amici in vita e in morte» - « Friends in life and death»).

Second picture

In the battle, Alvaro is seriously wounded; he may die if he cannot withstand the operation. Alvaro gives Carlos a box with personal documents (“ Solenne in quest'ora"), Carlos, at Alvaro's request, vows to destroy these documents without reading them. Left alone, Carlos gives vent to his suspicions - something tells him that his new friend and there is the father's killer. Doubts can be easily resolved by reading the documents, but the oath is sacred (“ Urna fatale del mio destino» - « The fatal box of my destiny"). Having opened the box, Carlos discovers not only prohibited documents, but also a medallion. The oath does not apply to the contents of the medallion; Carlos opens it and discovers a portrait of Leonora there. Everything is clear to him, and all that remains is to pray to God that Alvaro survives the operation in order to be able to kill the enemy with his own hands. The surgeon enters and reports that Alvaro has been saved. Carlos rejoices - he will be able to take revenge on his father’s killer (“ È salvo!» - « Saved!»).

Third scene (camp in Velletri)

A crowd scene representing the morals of a Spanish army camp. Preciosilla predicts the fate of soldiers ( Venite all'indovina), Trabucco is trying to sell his goods (" A buon mercato"), beggars beg for alms (" Pane, pan per carità"), sutlers led by Preziosilla seduce young soldiers (" Che vergogna! Su, coraggio!”), Melitone reproaches the soldiers for debauchery. IN final scene all those present, led by Preziosilla, glorify the war to the beat of drums (“ Rataplan, rataplan, della gloria»)

Fourth picture (Alvaro's tent)

Alvaro has recovered from his wound, and Carlos comes to challenge his friend to a duel. Alvaro, having learned who is really in front of him, begs Carlos to forget the insults and become brothers. But Carlos is inexorable: he wants to first kill Alvaro, and then find and kill Leonora (unlike Alvaro, Carlos realizes that his sister is alive). During the duel, Alvaro's sword pierces Carlos, and he falls dead. Realizing that he already has the blood of the second Vargas on him, Alvaro rushes into battle, wanting to find death there.

Act IV

First picture (monastery)

In the courtyard of the monastery, numerous beggars ask for bread (“ Fate, la carita"). On behalf of the brethren, Melitone distributes alms, but the beggars are dissatisfied with his arrogance and callousness - they gratefully remember Father Raphael, truly kind and merciful (“ Il padre Raffaele! Era un angelo! Un santo!"). After the expulsion of the beggars, Melitone, in a conversation with the abbot, Guardiano claims that Raffaele is a strange man and, perhaps, obsessed. Guardiano urges Melitone to be merciful and imitate Rafaela.

An unknown caballero arrives at the monastery, demanding that Melitone, who met him, take him to Raphael. Rafaele comes out to meet him, and the enemies recognize each other - over the past years, Alvaro has become a monk, and Carlos did not die during the duel and still seeks revenge. Carlos insists on a duel, Alvaro calls to forget and forgive the insults (“ Fratello! Riconoscimi...") Carlos manages to inflict an indelible insult on Alvaro - the enemies leave the monastery to fight in a mortal duel far from people.

Second scene (Leonora's Cave)

Far from people, Leonora lives in a cave. Years have passed, but she still cannot forget Alvaro and find peace (“ Pace, pace, mio ​​Dio!"). Suddenly, steps are heard, Leonora loudly warns that this is a place forbidden for people, and hides in a cave, having previously struck the bell.

Alvaro and Carlos appear. By the force of fate, they chose for the duel the place where Leonora had been hiding for so many years. Carlos is mortally wounded and demands a priest (" Io muoio! Confessione!"). Alvaro cannot accept confession and asks the hermit to do so. After a long conversation, Leonora emerges from the cave and all three participants in the scene recognize each other. Carlos asks his sister to hug him, stabs her with a dagger and dies, satisfied. Alvaro runs to the mountains in despair.

Meanwhile up the hill singing Miserere The monks rise, led by Guardiano and Melitone. In the light of lightning, the monks see the dead Carlos and the hermit, who, to their even greater horror, turns out to be a woman. Only Rafaele's father is missing - but now he appears on the top of the cliff. In front of the frightened brothers, Alvaro (Rafaele's brother) throws himself into the abyss. The tragic scene ends Miserere.

Differences of the second (Milanese) version

In 1869, the opera was staged in a new version in Milan. It is this Milanese version that is more common worldwide. opera stage. The main difference was the less bloody ending - Alvaro remains to live, obedient to Guardiano’s call to humble himself before the power of fate. For new version Verdi rewrote the overture, which became the longest he had previously written. In the third act, the third and fourth scenes swapped places, and the melodramatic scene of the first duel between Carlos and Alvaro became more prosaic - the duel was interrupted by soldiers on alarm.

Most Famous Moments

• Me pellegrina ed orfana- Leonora's aria (1 act),
• Padre eterno Signor, pieta di noi- chorus from 1 scene 2 acts,
• Sono gigunta! Grazie, o Dio!- Leonora's aria (2nd scene of action),
• La vita è inferno all'infelice- Alvaro's aria (1 scene 3 acts),
• Urna fatale del mio destino- Carlos's aria (2 scene 3 acts),
• Fratello! Riconoscimi- duet of Alvaro and Carlos (1 scene 4 acts),
• Pace, pace, mio ​​Dio!- Leonora's aria (2 scene 4 acts)

Audio recordings

• Leonora- Leyla Gencher, Don Alvaro- Giuseppe di Stefano, Don Carlos- Aldo Protti, Guardiano- Cesare Siepi, Preziosilla- Gabriella Carturan, choir and orchestra of La Scala, conductor - Antonio Votto, 1957.

• Don Alvaro- Jose Carreras, Leonora- Rosalyn Plowright Don Carlos- Renato Bruzon Guardiano- Paata Burchuladze, Melitone- Juan Pons Preziosilla- Agnes Baltsa, Marquis di Calatrava- John Tomlinson, London Philharmonic Orchestra, conductor - Giuseppe Sinopoli, 1987.

• Leonora- Renata Tebaldi, Don Alvaro- Mario del Monaco, Don Carlos- Ettore Bastianini, choir and orchestra of the Academy of Santa Cecilia, conductor - Francesco Molinari-Pradelli.

"Force of Destiny" by Giuseppe Verdi. Conductor – Maestro Daniel Oren, music director Israeli Opera. Directed by Pier Francesco Maestrini.

Shlomo Lahat Opera House, Israeli Opera Hall. From May 12 to May 27, 2017
A revenge tragedy taken to the point of absurdity - this is how one can sum up the intricate libretto of this musical drama, full of adventures, where the dark breath of fate is felt. “Force of Destiny” is Verdi’s great opera, written by him in 1861 at the request of the St. Petersburg Directorate of Imperial Theaters with a libretto by Francesco Maria Piave based on the drama “Don Alvaro, or the Force of Destiny” by Angel Saavedra and scenes from Friedrich Schiller’s trilogy “Wallenstein” " The order to write the opera came to Verdi from the directorate of the imperial theaters through the mediation of the famous tenor Enrico Tamberlik, who performed in Russia for many years.

The premiere of “Force of Destiny” took place at the Bolshoi (Kamenny) Theater, where the opera was presented by the Imperial Italian Opera. The opera was staged in 1862 with a delay of one season due to the illness of soprano Emma Lagroix, who was supposed to perform the role of Leonora for the first time. In 1861, Verdi arrived in St. Petersburg to learn Italian opera troupe parts of “Forces of Destiny”, but due to the illness of the prima donna Lagroix, Verdi postponed the production until the autumn of 1862 and asked to engage the young gifted singer Carolina Barbeau in St. Petersburg. In mid-September 1862, Verdi again went to St. Petersburg, having previously stopped in Moscow to attend the performance of “Il Trovatore,” given in his honor at the Bolshoi Theater.

The premiere of “Forces of Destiny” in St. Petersburg took place on November 10, 1862. In the performance, luxuriously designed by A. Roller, soloists of the Italian opera sang - C. Barbo, E. Tamberlinck, F. Graziani, A. de Basini, I. Marini. Conducted by E. Bavery. After the premiere, Verdi writes from St. Petersburg to Leon Escudier: “... three performances of “Force of Destiny” took place in a crowded theater and with excellent success.” In letters from Russia, Verdi is silent about Russian criticism, which was very harsh, although the emperor granted the composer the Order of St. Stanislaus, 2nd degree.

“Force of Destiny” is the only opera by Verdi written specifically for the Russian theater, and was soon also staged in Rome, Madrid, New York, Vienna, Buenos Aires and London. By the way, then - one and a half s more than a century back - the very fact of ordering the opera to a foreign composer with complete disregard for Russian music, he outraged the Russian public, especially since a huge amount was spent on the production. But here is an approving review published in the Journal de St.-Petersbourg: “The composer wanted the imperious breath of fate to be felt throughout his opera... The main melody is short and gloomy; it develops in such a way that it makes you tremble with excitement, as if a shadow stretched from the wings of the angel of death, waiting on the road of eternity.” Due to the darkness of the plot and the complexity of the music, the opera lasted only 19 performances in St. Petersburg.

The composer was critical of this: subsequent productions in Rome and Madrid convinced him of the need to make changes to the score. Wanting to defuse the atmosphere of darkness and despair, Verdi changed the ending. Not satisfied with the first edition of the opera, Verdi returned to it seven years later. As a result, a new edition of the music and libretto was created. Due to the serious illness of librettist Francesco Maria Piave, the literary text was modified by Antonio Ghislanzoni (who soon became the author of the libretto for Aida). Don Alvaro remains alive, and the forgiveness of the dying Leonora instills in his soul hope for reconciliation with heaven. The premiere of the new edition of the opera took place on February 20, 1869 in Milan at the La Scala theater. It was this version of the play that became the most widespread in the world operatic repertoire, and since then the opera has not gone away. theater scenes peace.

Not only was the libretto changed: Verdi wrote a new overture, rearranged crowd scenes, especially the soldiers' ones, I re-composed part of the finale and redid the denouement. This version of the opera at La Scala was a huge success. And it is this version of “Force of Destiny” that will be performed in Tel Aviv under the direction of maestro Daniel Oren and directed by Pier Francesco Maestrini.

By the way, “Force of Destiny” for a long time remained not Verdi’s most popular opera. Its revival came in the 20th century - perhaps because its plot has a strong role of fate and a mystical component. Initially, as conceived by Giuseppe Verdi, the plot for the opera was supposed to be Victor Hugo’s drama “Ruy Blas”. But because of the plot itself, the opera was banned in Russia (which is not surprising, because the story told about a footman who managed to become a minister, and besides, he feeds mutual love to the queen!). Then the composer drew attention to the play by Angel Perez de Saavedra. Remembering the strictness of the theater management, the librettist softened the plot, but the main content was preserved. But it turned out to be endless to unravel what exactly Verdi’s secret plan was challenging task“Force of Destiny” is one of Verdi’s most difficult operas, both for performers and directors. Fate rules over people, and we are always powerless before it. Is it worth measuring your strength with fate? Giuseppe Verdi was looking for the answer to this question.

At the same time, “Force of Destiny” is one of the most pathetic, dramatically intense, bloody and passionate operas in Verdi’s creative heritage. Unforeseen circumstances, acute conflicts and an incredible series of deaths accompany the opera throughout its entire length. The composer himself admitted more than once: “I dream of new big, beautiful, diverse, bold subjects, and extremely bold ones.” In one of his letters, Verdi wrote: “Give me a beautiful, original plot, interesting, with magnificent situations, passions - above all passions! turn into total absurdity due to the inexorable will of fate, when a stray bullet sets in motion a series of murders. But the first place in this opera, as all critics write, is the music itself...

Italian director Pier Francesco Maestrini has already collaborated with the Israeli Opera: in 2003, he staged Verdi's Nabucco in Tel Aviv. He is the author of many opera productions in Italy and in the world - mainly operas Italian composers, including almost all of Verdi's operas.

The power of fate. La forza del destino. Israeli Opera

An opera in four acts by Giuseppe Verdi with a libretto (in Italian) by Francesco Piave, based on the drama Alvaro, or the Force of Destiny by Angelo Pérez de Saavedra, Duke of Rivaz. (Antonio Ghislanzoni took part in the creation of the second edition of the opera’s libretto; scenes from Johann Friedrich von Schiller’s drama “Camp Valenstein” were also used in the libretto)

The conductor is Maestro Daniel Oren, music director of the Israeli Opera. Staged by Pier Francesco Maestrini

Characters and soloists: Marquis di Calatrava (bass) – Carlo Striuli
Don Carlos di Vargas, his son (baritone) – Vladimir Stoyanov / Ionut Pascu
Donna Leonora di Vargas, his daughter (soprano) – Suzanna Branchini / Ira Bertman
Don Alvaro, her lover (tenor) – Gustavo Porta / Walter Fraccaro / Enkhbatyn Amartuvshin
Kurra, her maid (mezzo-soprano) – Tal Bergman / Efrat Wolfsons
Preziosilla, gypsy (mezzo-soprano) – Enkeleyda Shkosa / Oksana Volkova
Abbot Guardian, abbot of the monastery (bass) – Giorgio Giuseppini / Simon LimFra Melito, Franciscan monk (bass) – Boris Statsenko / Angelo Nardinocchi
Mayor of Gornajuelos (bass) – Noah Briger
Trabuco, the Mullet Driver (tenor) – Yosef Aridan
Surgeon (tenor) – Anatoly Krasik

Time of action: XVIII century. Location: Spain and Italy.
First production: St. Petersburg, Bolshoi (Stone) Theater, November 22, 1862;
final edition: Milan, Teatro alla Scala, February 27, 1869.

Performed in Italian (titles in Hebrew and English)
Duration of the opera: 3 hours and 30 minutes

Set designer: Juan Guillermo Nova
Costume designer: Luca Dallalpi
Lighting Designer: Pascal Merat
Choreographer: Matilde Rubio

Israeli Opera Choir
Choirmaster – Eitan Schmeisser
Opera Orchestra – Israeli Symphony Orchestra Rishon Lezion

Performances of the opera “Force of Destiny” will take place from May 12 to May 27, 2017 in Opera House named after Shlomo Lahat, in the hall of the Israeli Opera.
Meeting before the premiere: May 6 at 11:00.
On performance days, 30-minute introductory lectures on the opera La Forza del Destino will be held an hour before the start of the performances, at no additional cost to those who purchased tickets for the performance that evening. “Behind the Scenes Tours” will take place on the 16th, 21st, 24th , May 25. Starts at 18:30. The price of the excursion is 25 shekels. Duration 30 minutes. Discussion meetings (talkback) – May 16, 21, 23, 25. Opera discussions in upper foyer after the performances are over.

The text was prepared by Masha Khinich. Photos (scenes from the production of “Forces of Destiny” directed by Pier Francesco Maestrini at the Maribor Opera in Slovenia) provided by the press service of the Israeli Opera. PR agency: Sofia Nimelstein PR & Consulting

; libretto by F. M. Piave (with the participation of A. Ghislanzoni) based on the drama “Alvaro, or the Force of Destiny” by A. Saavedra and using a scene from the drama “Camp Wallenstein” by F. Schiller.

First production: St. Petersburg, Mariinskii Opera House, November 10, 1862; final edition: Milan, Teatro alla Scala, February 27, 1869.

Characters: Marquis de Calatrava (bass), Leonora de Vargas (soprano), Don Carlos de Vargas (baritone), Don Alvaro (tenor), Preziosilla (mezzo-soprano), Prior (bass), Brother Meliton (bass), Curra (mezzo-soprano) soprano), alcalde (bass), Mastro Trabuco (tenor), Spanish military doctor (bass); muleteers, Spanish and Italian peasants and peasant women, Spanish and Italian soldiers, orderlies, Italian recruits, Franciscan monks, beggars, canteen women.

The action takes place in Spain and Italy in the mid-18th century.

Act one

In the castle of the Marquis Calatrava, his daughter Leonora, wishing her father Good night, awaits her beloved Don Alvaro, torn between her love for him and her father, who opposes this union (“Me pellegrina ed orfana”; “Becoming a homeless orphan”). Alvaro enters and convinces Leonora to leave her father's house. She eventually agrees (“Son tua, son tua col core e colla vita”; “Yours, yours in both heart and life”). But then the Marquis Calatrava appears. Alvaro throws the pistol, not wanting to threaten the Marquis, but an accidental shot mortally wounds him. Dying, the father curses his daughter.

Act two

Tavern in Seville. Peasants, muleteers, and the local mayor gathered here; three couples dance seguidilla. In disguise, Carlos, Leonora's brother, who calls himself a student of Pereda, is looking for both lovers. Leonora appears along with the small merchant Trabuco. The young gypsy Preziosilla calls on her compatriots to support the Italians in their fight against the Germans (“Al suon del tamburo”; “Under the thunder of drums”). Pilgrims pass by and everyone joins in their prayer. Leonora, long separated from Alvaro, fearfully recognizes her brother and hides. Carlos, hiding his name, tells Mastro Trabuco the story of his father’s murder (“Son Pereda, son ricco d’onore”; “I am Pereda, I am an honest fellow”).

Leonora seeks refuge in a monastery (“Madre, pietosa Vergine”; “Holy Virgin”). She asks the prior for permission to settle near the monastery and lead a hermit life. The monks vow not to disturb her peace. Leonora is tonsured a nun and retires (with the choir “La Vergine degli Angeli”; “ Blessed Virgin, queen of angels").

Act three

In Italy, near Velletri, in the Spanish camp, Don Alvaro mourns his unhappy past (“La vita e inferno all’infelice”; “Life for the unfortunate is torment!”). He considers Leonora dead (“O tu che in seno agli angeli”; “Oh, you to heavenly angels"). During the battle, Alvaro, who hid his name, saved Carlos, and both swore eternal friendship to each other (“Amici in vita e in morte”; “Friends in life and in death”). But Alvaro is seriously wounded and asks Carlos to destroy the hidden bundle of documents in the event of his death (“Solenne in quest’ora”; “Only one request!”). Carlos is overcome by doubts about the identity of his friend (“Urna fatale del mio destino”; “My fatal lot”). Among the documents, he finds a portrait of Leonora and learns that Alvaro is his enemy. Carlos does not give up revenge (“Egli e salvo! O gioia immensa”; “He is alive! O joy”).

There is excitement in the military camp. The Markitans encourage the recruits (“Non piangete, giovanotti”; “Don’t cry, guys”). Preziosilla predicts the future (“Venite all’indovina”; “Come to the fortune teller”), and Brother Melito delivers a clownish sermon. The gypsy starts dancing, the whole crowd accompanies her (“Rataplan”).

Act four

In the monastery, Brother Meliton is not happy with the new monk Raphael, who generously gives gifts to the poor, but the prior protects him. Carlos appears and recognizes Rafael as Alvaro. The enemies retire for a duel (“Le minacce i fieri accenti”; “Threats, angry words”). Leonora prays in her solitude (“Pace, pace mio Dio”; “Peace, peace, oh God!”). Suddenly there is a noise, the clanking of weapons. Alvaro knocks on the door, calling for a confessor: Carlos is dying, wounded in a duel. Leonora runs up to her brother in excitement, but he inflicts a fatal blow on her. Prior calls everyone to humility. Leonora dies, promising Alvaro to wait for him in heaven (terzeta “Lieta poss’io precederti”; “With joy I precede you”).

G. Marchesi (translated by E. Greceanii)

THE FORCE OF DESTINY (La forza del destino) - opera by G. Verdi in 4 acts (8 scenes), libretto by F. M. Piave and A. Ghislanzoni based on the drama “Don Alvar, or the Force of Destiny” by A. de Saavedra. Premiere of the 1st edition (libretto by F. M. Piave): St. Petersburg, Grand Theatre, by the forces of the Imperial Italian Opera, November 10, 1862, under the direction of E. Baveri; 2nd edition (libretto revised by A. Ghislanzoni) - Milan, La Scala, February 27, 1869; in Russia - St. Petersburg, Great Hall of the Conservatory, by an Italian troupe, 1901.

The opera was written by order of the St. Petersburg directorate of the imperial theaters. Initially, Verdi intended to turn to V. Hugo’s drama “Ruy Blas,” but its freedom-loving tendencies and the unheard-of situation presented in it (a footman who became a minister loves the queen and is loved by her) horrified the director. Drama was banned in Russia at that time. Then Verdi chose Saavedra's play. The librettist changed and softened a lot in the text compared to the original, but retained the main content.

Verdi repeatedly showed in his operas the clash of love with hatred, contrasting true feelings with social prejudices. Class inequality is an obstacle on the path of Leonora and Manrico in “Troubadour”, Maria and Simon in “Simon Boccanegra”. In "Force of Destiny" the composer rebelled against racial prejudice.

Leonora, the daughter of the Marquis di Calatrava, fell in love with Alvaro, a descendant of the royal family of the Incas, a Peruvian, that is, an “infidel.” The father does not allow even the thought of their marriage. Finding Alvaro in his daughter’s room, he showers him with insults. Alvaro does not want to resort to weapons. He throws the gun away, but a shot is fired, wounding the old man. Dying, the Marquis curses his daughter. Leonora goes to a monastery. Her brother Don Carlos is looking for her and Alvaro to avenge his father's death. Alvaro also tries in vain to find his beloved. Having lost hope, he joins the army under a false name. Seeing how the robbers attacked the unknown, he saves him. Don Carlos, not knowing who saved him, swears him eternal friendship. However, recognizing Alvaro, he challenges him to a duel. The patrol prevents a collision. Alvaro goes to the monastery where Leonora is hiding. Don Carlos sneaks into the monastery and forces Alvaro to take the weapon. Against his will, he wounds Carlos. Leonora bends over the wounded man, and her brother kills her. Alvaro commits suicide (later, in a new version, Verdi filmed this suicide).

In terms of gloominess of color, hopelessness and inevitability of the tragic ending, “Force of Fate” can compete with “Troubadour”. As can be concluded from the text, this hopeless coloring is due to predestination, the “power of fate.” However, the fatalistic concept of omnipotent fate, conventional and implausible situations, the complexity of intrigue are defeated by the power brilliant music. In the opera, personal conflict is merged with social and political conflict, and the corrupting effect of war on human consciousness is shown. The scenes in the army camp are full of vivid realism, depicting mercenaries overcome by a thirst for profit, glorifying war.

The first production of “Forces of Destiny” in St. Petersburg was a success, although the merits of the work were not fully appreciated. The fact that the opera was ordered from a foreign composer with complete disregard for Russian music outraged the Russian public, especially since a huge amount was spent on the production. Rightly indignant at this, criticism, with the exception of A. Serov, was unable to give an objective assessment of Verdi’s work. Among privileged listeners, “Force of Destiny” was not a success due to the darkness of the plot, the complexity of the music, and lasted only 19 performances. The composer was critical of the opera: its performances in Rome and Madrid convinced him of the need to make changes to the score. As a result, a new edition of the music and libretto was created (it was revised according to the instructions of the composer A. Ghislanzoni, the future librettist of Aida). A new overture was written, the crowd scenes, especially the soldiers' scenes, were rearranged, the terzetto in the finale was re-composed and the denouement was redone. This version of the opera was staged at La Scala and was a huge success.

Nevertheless, “Force of Destiny” for a long time remained one of the composer’s less popular works. Its revival came in the 20th century. For some time, the productions emphasized the mystical principle, the role of fate (in Germany - Dresden and Berlin, 1927, text translated and reworked by F. Werfel). In Russia during the Soviet period, “The Power of Destiny” was performed on the concert stage (Leningrad, 1934), and in 1963 it was successfully staged at the Opera and Ballet Theater. Kirov, on the stage where its premiere took place a hundred years ago. In the West, among the most successful productions of recent years is the 1992 performance at the London English Theater national opera and 1996 at the New York Metropolitan Opera (S. Sweet - Leonora, P. Domingo - Alvaro, V. Chernov - Carlos). Among best performers main parties - F. Corelli, R. Tebaldi, B. Hristov, E. Bastianini.

G. Verdi opera “Force of Destiny”

The opera “Force of Destiny” speaks to a person about what he should do. Fate itself leads the heroes, evading the final dotting of all the i’s, to tragic ending. Sentiment does not overcome the heroes' ideas about honor and fate. War, monastery walls, long distance and mountains - nothing can resist the fate of fate - the fate of the challenge thrown at the heroes in the first act of the opera. The power that permeates the performance is framed in a classic operatic performance, each scene of which sounds special - an alluring and frightening image of omnipotent rock, breaking everything in its path. A combination of classical forms of opera plot with the deepest semantic message expressed great music- this is real opera, breaking through all barriers and reaching the ultimate questions.

Summary of Verdi's opera "" and set interesting facts Read about this work on our page.

Summary of “Forces of Destiny”

The story takes place around 1750 and takes place in Spain and Italy. The plot of the plot is the contradiction between the Marquis Calatrava’s father’s idea of ​​a proper groom for his beloved daughter and the love between the Marquis’s daughter Leonora and Don Alvaro, whose claims to Leonora’s hand are rejected by the head of the family. Tragic death The Marquise Calatrava, in which there is literally no one to blame, ends with a terrible father's curse on his daughter.

The Marquis's son Carlos vows to avenge his father by killing his sister Leonora and her lover Alvaro. At the same time, the lovers are sure of each other’s death and each goes their own way.

Leonora, having changed clothes, runs to the monastery, where, with the blessing of the abbot, she settles as a hermit. Alvaro finds himself part of the Spanish army fighting against the Germans in Italy, trying to escape his fate into war. But the battles on the front line and military exploits they do not protect Leonora’s lover. The war unfolds against the backdrop of revelry and passions in the camp of the Spanish army, in which the impulse for heroism is combined with a craving for base pleasures. During one of the battles, Alvaro saves Carlos' life and they swear eternal brotherhood. But when Carlos finds out that the soldier who saved him is the same Alvaro, a duel ensues between the heroes, after which the action eventually moves to the monastery... then the inexorable pace of fate begins.

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Interesting Facts

• The libretto of the opera “Force of Destiny” was written by Francesco Piave, with whom Verdi have worked long years. The plot is based on the work of the Spanish author Angel Saavedra “Don Alvaro, or the Force of Destiny.”
• The commissioner for the opera was the Russian Imperial Theater Directorate. “Force of Destiny” is the first and only opera by Verdi written specifically for the Russian theater.
• The premiere of "Force of Destiny" was delayed by one season due to the illness of the famous soprano Emma Lagroix, who was supposed to sing the role of Leonora. And eventually it took place on November 10, 1862 at the Bolshoi Kamenny Theater in the capital of the Russian Empire.

• After the premiere, Emperor Alexander II summoned Verdi to congratulate him on the success of the opera.
• Giuseppe Verdi, together with Antonio Ghislanzoni, made changes to the opera, including partly changing the ending. The premiere of the new, modified version, which later became the most widespread, took place on February 27, 1869 in Milan, at the La Scala theater.
• The Milanese version has a different plot from the original St. Petersburg one. The introduction was replaced by an overture, and in the third act the third and fourth scenes were swapped. The scene of the first duel between Carlos and Alvaro is interrupted by soldiers who are on alert. Finally, the ending was changed, in which Alvaro survives by heeding the admonitions of the abbot of the monastery Guardiano.
• The Mariinsky Theater retains in its repertoire the original, canonical production of Verdi’s opera “Force of Destiny”. The opera lasts four hours with two intermissions. At the same time, other theaters in Russia stage the Milanese version of the opera.
• Based on the opera, the Italian director made the film “Force of Destiny,” which premiered in 1950.
• The opera “Force of Destiny” formed the basis of the musical score of the films “Jean de Florette” (1986, France-Italy), “Manon from the Source” (1986, France-Italy-Switzerland) and “The Scarlet Letter” (2004, South Korea).
• "Force of Destiny" was the last working together Verdi and Piave. In 1867, Piave suffered an apoplexy, after which he was paralyzed and unable to continue further work.

Popular arias and numbers from the opera “Force of Destiny”

Leonora's aria "Pace, pace, mio ​​Dio!" - listen

Don Alvaro's aria "La vita e inferno all'infelice" - listen

Don Carlos' aria "Urna fatale del mio destino" - listen

Overture - listen

History of creation

Initially, the opera was supposed to be based on the drama “Ruy Blas” by Victor Hugo, but subsequently the customer (the Directorate of Imperial Theaters of Russia) chose the drama “Don Alvaro, or the Force of Destiny” by Angel Saavedra. After the premiere of the play in St. Petersburg in 1962, Emperor Alexander II awarded Verdi the Imperial and Royal Order of St. Stanislaus.

After St. Petersburg, the opera was staged in Rome and Madrid in 1863, in New York and Vienna in 1865, in Buenos Aires in 1866, in London in 1867 and in a new version in 1869 in Milan.

If in “Romeo and Juliet” love tramples death, becoming above it, then in Verdi the power of fate tramples everything, becoming above the created world. Neither tragic love, neither the willingness to go to death, nor military brotherhood, nor family ties, nor religion - nothing can stop the fate of the due. Such is the power of fate. The presence of two alternative endings to the opera especially emphasizes the fundamental foundations of " Forces of fate" In one of the endings, the power of fate destroys everything that resists it, and in the other, the life that bows to it is preserved.

Giuseppe Verdi "Force of Destiny"