Any opera called "the Force of Destiny" (or La Forza del Destino, in the original Italian) has to ask big questions, or at least attempt to, to avoid being laughed at. Its debateable whether Verdi does ask such question, but he does certainly fill his pot boiler of an opera with characters who seem to be doomed to spend their lives unhappily, their destiny set from before the opera starts, it would seem.
Tama Matheson has directed a very dark retelling of this tale. He has opted to focus on the story and its themes, and tell that, rather than try to update it to some other time, trusting in the source, rather than feeling the need to change the story to fit his ideas. Thus, the stage is filled with characters in period appropriate costumes.
And yet, the set itself, tended to be non naturalistic. Props that were needed were always available, and era appropriate, but the stage itself was mostly left blank, with a series of platforms and staircases wheeled in out and around, as needed, with curtains and a large revolve, used to change spaces as needed. At various times, other pieces were added and removed as required. A large skull often featured, with a giant statue of the Madonna, an altar, massed candles, and a crucifix, all appearing at times to add to the atmosphere of religious fervour, and oppression.
This production does take a few small liberties with the story though. Preziosilla, ably sung and acted by Rinat Shaham, became, not just a fortune telling gypsy, but an embodiment of Fate itself. She lurks menacingly whenever any scenes ripe for death or "significant plot event" happen. As characters die, she has kissed them immediately before, becoming the hand of fate that brings death. At times, the women of the chorus join her in this role. In the battle scenes, the women, hidden behind death masks, wander amongst the soldiers, touching them, which results in them dying.
So, about the performers. First, let me say, this is probably the best cast opera I have seen live in Sydney. There were no weak links. With five leads all at a very high standard, this is no mean feat!
First, of course, our Leonora, played by Svetla Vassileva, bringing a slight figure and huge voice to the role. Hers is a big, beautiful voice, used to good effect in this role. A few times her loud notes became a bit squally and wayward, but mostly she sang with gorgeous tone and portrayed the initial nervousness and then anguish of her character well. Singing much of her final aria Pace pace mio Dio lying on the floor, her torment at what had become of her life was almost too painful to watch.
As her fiance Don Alvaro, Riccardo Massi brought a strong tenor voice to the role. He was convincing as the impulsive foreigner in love with Leonora and whose plan to elope was destroyed by the intrusion and then death of her father, (well sung by Richard Anderson)
A welcome return to the OA stage was by Jonathan Summers as Don Carlo. Hearing the veteran sing with the strength that puts most younger baritones to shame, reminds us of a time when he was a regular singer here. His determination to get vengeance and repair the honour caused by the loss of his father was palpable, as was his brokenness from his loss.
And I mentioned Rinat Shaham before, so all I need to say is, how good is it to have a singer who can sing from the back of the stage, on a raised platform and still have her heard at the back of the theatre, over the chorus in front of her? Very good! Though why every director chooses to go nuts with at least one of Preziosilla's scenes, I have no idea. This time, her "Rataplan" results in all the chorus dying as she sings. Not the effect that Verdi was aiming at!
The lead that gets the least time though, who also impressed me the most was Giacomo Prestia. Big beautiful sounds poured out of him effortlessly, every time he opened his mouth. Can we have him back soon to sing King Phillip in Don Carlo? Please?
To give you an idea how big his voice is. His Melitone, Warwick Fyfe, who sang Falstaff earlier this year at OperaAustralia, seemed small voiced when singing next to him. Not that this was bad, Melitone is a smaller role after all (and Warwick filled it well) but the difference in voice size between them was noticeable.
It has to be said, there were lots of clever touches throughout this opera, things that showed the director and designers had thought long and hard how to create a strong sense of the atmosphere and story. These occurred throughout the opera. For example, in the opening, Leonora starts in a big elaborate wide dress and wig, which during her first big aria, she is helped out of by servants, as if her rebellion requires her to first be freed of the shackles society has put on her. She later spends the rest of the performance in plainer costumes, indicating that she has left her past behind her, even as her past will not leave her. At the end of Act2, as she puts on the monk habit before beginning as a hermit, the monk assisting her removes the hood from his head, revealing to us that, in her mind, she sees her dead father, and because almost paralysed with fear.
Andrea Licata was the conductor, keeping the forces well controlled. Personally, I prefer a little more forcefulness in my Verdi, but, the ensemble was tight and controlled, working with the singers to comment on the action.
So, my advice? If you like Verdi, go. You won't see a cast like this locally again in a hurry.
