La Forza del Destino

Deutsche Oper Berlin's 2008-2009 Season

September 13 2008- July 2 2009: Turandot
September 14 2008- March 22 2009: Der fliegende Holländer
September 15-27 2008: Rigoletto
September 20 2008: L'Amico Fritz
September 21 2008- May 2 2009: Die Zauberflöte
September 30- October 8 2008: Pique Dame
October 1-5 2008: The Nose
October 2-7 2008: Chowanschtschina
October 3 2008 - February 15 2009: Der Rosenkavalier
October 22-31 2008: Manon Lescaut
October 30- November 6 2008: Lohengrin
November 20 2008- May 8 2009: La Traviata
November 28 2008- April 12 2009: Aida
November 30 2008- May 31 2009: Tannhäuser
December 8 2008- February 12 2009: Daphne
December 13 2008- March 11 2009: Lucia di Lammermoor
December 14-28 2008: Hänsel und Gretel
December 17 2008- January 9 2009: Cunning Little Vixen
December 18 2008- January 4 2009: La Bohème
January 7- June 24 2009: Tosca
January 18- February 14 2009: Die Ägyptische Helena
January 25- February 10 2009: Salome
January 28- February 13 2009: Cassandra / Elektra
February 8-27 2009: Ariadne auf Naxos
March 8- July 3 2009: Carmen
March 13- April 25 2009: Un Ballo in Maschera
March 26- April 4 2009:
Andrea Chenier
April 9-24 2009: Marie Victoire
April 30- May 9 2009: Eugene Onegin
May 20- June 2 2009: La Cenerentola
May 26- June 18 2009: Der Freischütz
May 27- June 6 2009: Madama Butterfly
June 10-21 2009: Tristan und Isolde
June 17-25 2009: Le Nozze di Figaro
June 26- July 4 2009: Tiefland

Valery Gergiev conducts Pique Dame, The Nose, Chowanschtschina. Bo Skovhus sings the title role of Eugene Onegin. Roberto Alagna sings Fritz in L'Amico Fritz, with Angela Gheorghiu as Suzel. Gheorghiu returns in May for La Traviata, and in June for Tosca. Angelika Kirchschlager sings the title role of Carmen and Octavian in Der Rosenkavalier. Nancy Gustafson sings the Feldmarschallin in the latter, but only in December. Mariusz Kwiecien sings in the March performances of Lucia, opposite of Burcu Uyar and Elena Mosuc, who share the title role with Ruth Ann Swenson.

2008-2009 Schedule | Official Site


Don Alvaro o La Fuerza del Sino

LaforzaSan Francisco Opera's new production of Verdi's La Forza del Destino, directed by Ron Daniels, opened last Wednesday. They used the revised 1869 version and not the 1862 version that premiered in St. Petersburg. In this revised version Don Alvaro does not throw himself off a cliff, and there is something of a sense of hope despite the demise of the other two main characters.

The premiere of this new production was rather fraught with problems. Since there are so many scenes and so many set changes, curtains were often employed to hide the various changes. After Act I Scene i, Catherine Cook (Curra) and a fancy chair got caught on the wrong side of the curtain. Cook handled this well, hiding up against the curtain, and since her costume was the same color as the curtain, she was fairly discreet until she ducked under it. Other lapses in the professionalism behind the scenes were striking. The people backstage were far too loud. At the end of Act I Scene iii of La Forza there is a beautiful organ solo, and this was marred by a woman's voice backstage who clearly said "Standby." Moreover, during the last few moments of the sublimely quiet final scene, talking from backstage was audible.

The synopsis printed in the program was rife with oversights, both in terms of numerous typographical errors and simple plot inaccuracies. For instance, Act II was incorrectly marked as Act I, which anyone could see at first glance. They did manage to correct this by the second performance on Saturday. But worse was the plain misinformation. Don Alvaro does not appear in Act I Scene ii at all, yet the synopsis read "The young villagers welcome the travelers (Alvaro and Leonora in disguise)..." Also, for Act I Scene iii, the synopsis read "Frightened and alone, Leonora prays that the Virgin will not abandon her. Because she is not a woman, she's not permitted to enter the monastery." This editorial sloppiness seems to betray an overdependence on spell check and a general dearth of competence.

Both Roland Aeschlimann's set and Andrea Schmidt-Futterer's costumes were vulgar. First there was this odd progression from black and more traditional in the first act, to more modern grey and camouflage in the second act, then to dirty white at the end. As for the actual set, the toppled-over triumphal arch in the first two scenes, the mess of oversized jacks in Act II, and the enormous white sculpture of 3 beams meant to be Leonara's cave were all a bit silly. The costumes were fine until we got to the vivandières in Act II, who were recast as prostitutes and had punky hairstyles and dramatic white makeup on their faces and exposed breasts. The nipples on Preziosilla's red leather vinyl corset were slightly gratuitous as well.

The whole production was overwrought and ponderous. The recorded sounds of bombs, bullets, and machine gun fire during the battle in Act II was unnecessary, there is plenty of noise being generated by the orchestra. Also, why have the chorus try to dance around in the dark during the patrol chorus of in the same act? They failed to be together with each other or the orchestra during the working rehearsal, the opening performance, and last Saturday's matinee.

Soprano Andrea Gruber was perhaps not the best choice for Leonora. Her vibrato lacks control, and her gasping is audible from the very back of the opera house. She lacked acting skills as well, during Saturdays' performance her robes got tucked up in her belt, showing an uncomely amount of thigh and calf. With her back toward the audience, she tried to fix her costume, instead of simply letting it go. Tenor Vladimir Kuzmenko was, however, great as Don Alvaro. His voice is huge, but he shows a lot more control than Gruber. Željko Lučić was also very good as Don Carlo di Vargas, and his duets with Kuzmenko were some of the best moments of the opera.

Nicola Luisotti conducted with great energy, and the orchestra played very well. This opera has a beautiful overture, a good deal of lovely music, and the ending has a certain remarkable stillness.


Forza Working Rehearsal

Forzaacti_5San Francisco Opera's new production of La Forza del Destino opens next week on Wednesday, November 2nd. The opera company invited subscribers to see a working rehearsal yesterday, and the experience certainly was educational. One could hear the director, Ron Daniels, screaming at the performers, and this is quite a different view than one usually has, to say the least.

The production looks to be an odd mixture of time periods, there are swords and machine guns, Preziosilla wears a red vinyl corset and trousers with a long black vinyl coat, but the dancers in the same scene wear long black gowns with ruffled petticoats. The scenery is bizarre, in the background of the first two scenes is a triumphal arch toppled over, the last scene features an enormous white sculpture of 3 beams leaning on each other like oversized sticks for a campfire. In Act II, the part which occurs in the forest near Velletri, Italy, the floor is covered with a camouflage design.

Though it is perhaps not fair to judge the singers based on this rehearsal, I found the Leonora, soprano Andrea Gruber, to be lacking. She doesn't seem to have much control of her vibrato, and her voice has a breathy, gasping quality. She did have sufficient volume. She fell out of character at times, brushing her hair off her face at inopportune moments, but this may not be representative of what will happen at the actual performances. Don Alvaro was sung rather well by tenor Vladimir Kuzmenko, who also has a good deal of volume. I most enjoyed the Padre Guardiano, bass Orlin Anastassov, but he only sang for Act I Scene 3, the rest was sung by an understudy or stand-in. Fra Melitone, sung by baritone Lucas Meachem, was a good actor, but he is a bit quiet, which was fine for Act I Scene 3, but for Act III Scene 1 he sang with most of the orchestra playing, and one could not make out much of his voice over the din.

The opera itself is strange, the main singers are kept off the stage for many scenes and only sing together at the beginning and the end. Musically, the ending is weak, it simply sputters out into silence. But it may well be I need to listen to this again.