The Force of Destiny opens the season at La Scala in Milan

This new production of The Force of Destiny by Giuseppe Verdi, directed by Riccardo Chailly, opens the opera season at La Scala in Milan in a production by Leo Muscato, served by a vocal cast bringing together Anna Netrebko, Brian Jagde and Ludovic Tézier in the main roles.

Awaited by all lyric lovers, St. Ambrose Day, December 7, marks the start of the season at La Scala in Milan: this year The Force of Destiny by Guiseppe Verdi has the honors of “Prima” after 23 years of absence on the scaliger scene. An opera whose genesis was particularly laborious, as evidenced by the recent discovery of the original libretto copiously crossed out by Piave and Verdi. Its dramaturgy, somewhat complex, is organized around the themes of war, revenge and passion in a mixture of tragedy and comedy, marked with the seal of curse (the baritone Leonard Warren died on stage in the role of Carlo at the MET in 1960).

Frequently benefiting from sumptuous scenography and costumes, Milanese productions are most often part of tradition; that of Leo Muscato is no exception to the rule. Avoiding the racial component around which many directors, like Tobias Kratzer, have developed their ideas, Leo Muscato remains focused on the evils of war which continues whatever the era and remains omnipresent on the set. , following the inexorable march of time and Destiny symbolized by a large spinner moving counterclockwise which will only cease to crush the destinies of the main characters, until the dead. Federica Parolini's beautiful scenography is presented in a succession of four chronological periods, each corresponding to an act: the residence of the Marquis of Calatrava, in Act I (the murder); a military encampment and a convent in Act II (the flight); a new encampment of soldiers under the snow and a field infirmary in Act III (the meeting and the challenge); present day in a refugee camp in Act IV (death). The direction of the actors is careful and relevant, without downtime, perfectly legible, enhanced by appropriate lighting and costumes.

In the pit, the direction of Riccardo Chailly is exciting: after a very theatrical opening, nuanced, imperious, urgent and full of sensuality, punctuated by superb solo performances (winds, brass and percussion), the speech continues in osmosis with the dramaturgy which he exalts to his heart's content, ensuring a sovereign balance with the singers and choirs, that the maestro encourages with his singing. So many characteristics of a direction which will receive all the votes of the public during the salutes.

The vocal casting is also on par with the “Prima”. Anna Netrebko as Leonora wins the day with her sublimely rounded timbre, her flowing highs, her wide ambitus, her well-toned bass and her admirable legato with a ” Pace, pace » an anthology that will bring tears to your eyes. Ludovic Tézier is not to be outdone: filled with vengeance, he portrays a Carlo all in darkness, with a great stage and vocal presence bringing together power, diction, bronze tone and infinite breath, materialized in a formidable “ Die! terrible thing- Fatal urn » applauded for a long time. Brian Jagde, returned from his short paternity leave, is a well-dressed Alvaro with a radiant tone, suffering at times from a certain rigidity of the vocal line. Among the supporting roles, we will remember the beautiful bass, full of authority and compassion of Alexandre Vinogradov (Padre Guardino), the petulant and well singing, despite a fairly marked vibrato, Vasilisa Berjanskaïa (Preziosilla), the indescribable comic of Marco Filippo Romano in Fra Melitone, without forgetting the fleeting Marquis of Calatrava (Fabrizio Beggi), nor Carlo Bosi's Trabuco. The La Scala choir, faithful to its reputation, happily completes this new Milanese production.

Photo credit: © Brescia and Amisano / Teatro alla Scala

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