La Forza del Destino (ROH) Puskin Mozi Budapest
May 12th 2019
This was a truly magnificent performance – not just for the two people who were recognised as the stars but by absolutely everyone involved
The work is a strange one – it’s not so much the force of destiny as the force of random matters of chance leading to implausible conclusions. It’s a sprawling messy story where the focus continually changes as it switches form each of the three characters. In this production the story was told reasonably clearly, beginning with three-part dumb show during the overture showing the death of a younger sibling of the main two, Leonora and Don Alvaro. This was a complete directorial insertion which I suppose was trying to suggest how early trauma affected later behaviours of these two but it seemed somewhat pointless, except for the conspicuous placement of a Madonna figure on the table which was meant, I think to be connected with Leonora (even though her behaviour is pretty un-Madonna like) and her later retreat to a monastery – as well as the wearing of Madonna blue in her costume. It didn’t spoil anything but it did not add anything.
The set was, fundamentally a large bare room with various pieces of furniture and props to suggest other locations e.g. a large crucifix when we were in the monastery. The blankness allowed the (quite) effective use of somewhat grainy black and white video images on the back wall at key moments – sometimes I think giving a close up of one characters face, at other times trying to remind us of earlier trauma. Again, reasonably effective but not adding a great deal. I did not really have a sense of an overriding idea or vision for the piece – it was as I’ve said quite clearly staged but no engagement with any ‘big ideas’ – although with a performance of this musical quality, I am not sure that that would have been needed – or even may have been a distraction. War and its effect could have been one and that was suggested in certain scenes, most notably with Father Melitone but not in a significant way.
Costumes were, largely modern, although with some nods to earlier ages. The choreography was…certainly modern. The (good) dancers, in their moves and headgear (green bowlers!) had a definite Bob Fosse air and I am not sure that this really worked in this production. The chorus moves were very smartly and tightly performed (well done!) and there was a great and vigorous spectacle in the army camp scenes with Preziosilla. The chorus singing was excellent – rich and evocative and was just one of the musical aspects that were superbly done by Pappano who conducted the entire work with passion and a marvellous romantic but tight sweep. The orchestra was superb, meeting every challenge and musically, thanks to Pappano, the structure of the work came across wonderfully well. There was total engagement from orchestra and chorus and they derived the thunderous applause given at the end. Tension was excellently maintained – something that can be difficult to do with this piece given its sprawling nature but there were no longeurs, dramatic or otherwise at all in this performance.
And so now to the singers. It was marvellous to see and hear veteran Robert Lloyd as richly sonorous as 79 as he was when I heard him in the 70’s and 80’s in London - and equally powerful and effective was Ferruccio Furlanetto as the dramatically necessary Padre Guardiano. As Melitone Alessandro Corbelli sung and performed very well – he had a strong stage presence and made the most of his big scene – which I must admit to finding very tedious and unfunny. It seems almost totally unnecessary dramatically, it slows the plot (which is the last thing that needs to happen with this work) and musically it is not particularly interesting. All of these performers, and the chorus, were absolutely at the top of their game and, in their way, as good as the three main principals
As Preziosilla, Veronica Simeoni was very powerful and effective. She had real stage presence, both in her moves (a good dancer who was asked to do much) and as a singer with a warmly rich and even voice that matched and enhanced her stage character and personality. A highly enjoyable performance.
And now to these big three – and three it was, not just two. This is not to in any way diminish all other performers who were in their way, as good and dynamically effective as these three of course. Ludovic Tezier was a superbly powerful and gripping Don Carlo whose ability to spin a fine Verdi line with both power and sweetness was almost an object lesson in how to sing this composer – in fact we had three who gave those sort of master classes in this production. He blended richly but distinctively with Kaufmann in their big duet.
Kaufmann was characteristically intense – both vocally and as an actor without ever being cornily hammy ,which is more than possible in a work of this type. His voice is now really maturely fascinating – baritonal in many areas, powerful with no hint of strain or forcing in the climaxes but still, where needed, with that characteristic tenor plagency when called for. He gave every ounce of himself, musically and dramatically from every moment on the stage. And in this he was matched by Netrebko who shared all these qualities and whose voice now has matured fascinatingly. There is considerable power there as well as the ability to spin an exquisite pianissimo line, if necessary at the top of the register, and with a rich middle and powerful lower register. All of these parts are remarkably evenly produced with no ‘gear changes’ between them as, for example, with Callas (although if those were noticeable in any of her performances it was because they were being deliberately used for dramatic effect).
All in all, a wonderful afternoon. And how super to be back in the Garden, even if only vicariously. I must get back there soon. An initial aim for retirement perhaps?