Teatro Alla Scala tickets 16 December 2024 - La forza del destino with Anna Netrebko | GoComGo.com

La forza del destino with Anna Netrebko

Teatro Alla Scala, Milan, Italy
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7:30 PM
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US$ 158

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If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Important Info
Type: Opera
City: Milan, Italy
Starts at: 19:30
Acts: 4
Duration: 3h 40min

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast
Performers
Soprano: Anna Netrebko (Leonora)
Tenor: Jonas Kaufmann (Don Alvaro)
Conductor: Riccardo Chailly
Baritone: Ludovic Tézier (Don Carlo di Vargas)
Mezzo-Soprano: Vasilisa Berzhanskaya (Preziosilla)
Bass: Alexander Vinogradov (Il Padre Guardiano)
Baritone: Fabrizio Beggi (Il Marchese di Calatrava)
Choir: Teatro alla Scala Chorus
Creators
Composer: Giuseppe Verdi
Poet: Ángel de Saavedra
Librettist: Francesco Maria Piave
Director: Leo Muscato
Overview

Riccardo Chailly inaugurates the 2024-2025 Opera Season with a new production of La forza del destino, conducting his ninth Verdi title at La Scala.

Leo Muscato will direct yet another cast of extraordinary prestige. A complex opera in terms of dramaturgy, first performed in St. Petersburg in 1862 and debuting in its final form at La Scala in 1869 with the creation of the famous overture, La forza del destino offers some of the most memorable Verdi melodies. It has been absent from the programme since the Verdi centennial in 2001, when it was brought to La Scala by the artists of the Mariinsky Theatre of St. Petersburg; the La Scala Orchestra and Choir have not performed it since 1999.

Teatro alla Scala New Production

History
Premiere of this production: 10 November 1862, Bolshoi Kamenny Theatre, Saint Petersburg

La forza del destino (The Power of Fate, often translated The Force of Destiny) is an Italian opera by Giuseppe Verdi. The libretto was written by Francesco Maria Piave based on a Spanish drama, Don Álvaro o la fuerza del sino (1835), by Ángel de Saavedra, 3rd Duke of Rivas, with a scene adapted from Friedrich Schiller's Wallensteins Lager.

Synopsis

Place: Spain and Italy
Time: around 1750

Overture
The music begins with the opera's "Fate" motif, an ominous three Es unison in the brass.

Act 1

The mansion of Leonora's family, in Seville

Don Alvaro is a young nobleman from South America (presumably Peru) who is part Indian and who has settled in Seville where he is not very well thought of. He falls in love with Donna Leonora, the daughter of the Marquis of Calatrava, but Calatrava is determined that she shall marry only a man of the highest birth. Despite knowing her father’s aversion to Alvaro, Leonora is deeply in love with him, and she determines to give up her home and country in order to elope with him. In this endeavor, she is aided by her confidante, Curra. (Me pellegrina ed orfana – "Exiled and orphaned far from my childhood home").

When Alvaro arrives to fetch Leonora, she hesitates: she wants to elope with him, but part of her wants to stay with her father; she eventually pulls herself together, ready for their elopement. However, the Marquis unexpectedly enters and discovers Leonora and Alvaro together. He threatens Alvaro with death, and in order to remove any suspicion as to Leonora’s purity, Alvaro surrenders himself. As he flings down his pistol, it goes off, mortally wounding the Marquis, who dies cursing his daughter.

Act 2

Scene 1: An inn in the village of Hornachuelos

About a year has passed since the death of the Marquis of Calatrava. While fleeing the scene, Leonora and Alvaro became separated, and neither has made any concerted effort to find the other.

In this scene, the Alcalde, several peasant muleteers, Don Carlo of Vargas (the brother of Donna Leonora), and many others are gathered in the kitchen of the inn as dinner is served. Don Carlo, disguised as a student from Salamanca and using the fictitious name Pereda, is now seeking revenge against Alvaro and Leonora for dishonoring the family name. (Son Pereda son ricco d'onore – "I am Pereda, of honorable descent"). During the supper, Preziosilla, a popular young gypsy girl, arrives, and she tells the young men’s fortunes and exhorts them to enlist in the war (Al suon del tamburo – "When side drums rattle") for Italy’s freedom, which all agree to do. Leonora arrives in male attire, on her way to a nearby monastery, but luckily she slips away without being discovered by Carlo.

Scene 2: A monastery nearby

Leonora has come to take refuge in the monastery to live out her remaining days secluded from the rest of mankind. (Son giunta! ... Madre, pietosa Vergine – "I've got here! Oh, thank God!") After a somewhat surly reception by Fra Melitone, she tells the abbot, Padre Guardiano, her true name and her wish to spend the remainder of her life in the monastery's hermitage. The abbot recounts the trials she will have to undergo. Leonora, Padre Guardiano, Fra Melitone, and the other monks join in prayer as she is accepted in the hermitage.

Act 3

Scene 1: A forest near Velletri, in Italy

Meanwhile Don Alvaro has joined the Spanish army under the name of Don Federico Herreros (La vita è inferno all'infelice ... O tu che in seno agli angeli – "Life is a hell to those who are unhappy....Oh, my beloved, risen among the angels"). One night he saves the life of Don Carlo who is serving in the same army under the name of Don Felix Bornos. They become close friends and go side by side into the Battle of Velletri, an historical event which occurred in 1744.

Scene 2: The officers' quarters

In one of these engagements Don Alvaro returns, believing himself to be mortally wounded. He entrusts to Don Carlo’s care a valise containing a bundle of letters which he orders his friend to destroy as soon as Don Alvaro dies: (Solenne in quest'ora – "Swear to me, in this solemn hour"). Don Carlo has sworn not to look at the contents of the letters; but he becomes suspicious of his friend. (Morir! Tremenda cosa! ... Urna fatale del mio destino – "To die! What an awesome thought...Get away, fatal lot sent to my Destiny!"). He opens the valise, finds his sister’s picture, and realizes Alvaro's true identity. At that moment a surgeon brings word that Don Alvaro may recover. Don Carlo is overjoyed at the idea of avenging his father’s death.

Scene 3: A camp near the battleground

Having recovered, Alvaro is confronted by Carlo. They begin to duel, but are pulled away from each other by the soldiers. As they restrain Carlo, the anguished Don Alvaro vows to enter a monastery.

The soldiers gather. Trabucco, the peddler, tries to sell them his wares; Fra Melitone chastises them for their godless ways; and Preziosilla leads them in a chorus in praise of the military life (Rataplan, rataplan, della gloria – "Rum-tum-tum on the drum is the music that makes a soldier's martial spirit rise").

Act 4

Scene 1: The monastery

Impoverished peasants from the region approach Fra Melitone at the monastery at Hornachuelos for food and Padre Guardiano gently scolds Melitone for his less than charitable behavior towards them. Don Carlo then approaches, having learned of the presence of Don Alvaro there. Under the name of Father Raphael, Alvaro has indeed entered the monastery, near which is Leonora’s cave. Don Carlo forces him into a fight (Le minacce, i fieri accenti – "May the winds carry off with them").

Scene 2: A desolate spot near Leonora's hermitage

Leonora prays that she may find peace in death (Pace, pace mio Dio! – "Peace, O mighty Father, give me peace!"). Alvaro runs in, calling for help, having mortally wounded Carlo in their duel. The two lovers recognize each other. Leonora seeks her brother and, as she bends over him, he stabs her in the heart. The dying Leonora returns, supported by Padre Guardiano; he and Alvaro pray to heaven as she dies.

Venue Info

Teatro Alla Scala - Milan
Location   Via Filodrammatici, 2

Teatro Alla Scala is an opera house in Milan. Most of Italy's greatest operatic artists, and many of the finest singers from around the world, have appeared at La Scala. The theatre is regarded as one of the leading opera and ballet theatres globally. It is home to the La Scala Theatre Chorus, La Scala Theatre Ballet, La Scala Theatre Orchestra, and the Filarmonica della Scala orchestra.

The Teatro alla Scala was founded, under the auspices of the Empress Maria Theresa of Austria, to replace the Royal Ducal Theatre, which was destroyed by fire on 26 February 1776 and had until then been the home of opera in Milan. The cost of building the new theatre was borne by the owners of the boxes at the Ducal, in exchange for possession of the land on which stood the church of Santa Maria alla Scala (hence the name) and for renewed ownership of their boxes. Designed by the great neoclassical architect Giuseppe Piermarini, La Scala opened on 3 August 1778 with Antonio Salieri's opera L'Europa riconosciuta, to a libretto by Mattia Verazi.

With the advent of Rossini in 1812 (La pietra del paragone), the Teatro alla Scala was to become the appointed place of Italian opera seria: of its history dating back more than a century and of its subsequent tradition up till the present. The catalogue of Rossini's works performed until 1825 included: Il turco in Italia, La Cenerentola, Il barbiere di Siviglia, La donna del lago, Otello, Tancredi, Semiramide and Mosé. During that period the choreographies of Salvatore Viganò (1769-181) and of Carlo Blasis (1795-1878) also widened the theatre's artistic supremacy to include ballet.

An exceptional new season of serious opera opened between 1822 and 1825, with Chiara e Serafina by Gaetano Donizetti (1797-1848) and Il pirata by Vincenzo Bellini (1801-1835). The later operas of Donizetti performed at La Scala were (until 1850) Anna Bolena, Lucrezia Borgia, Torquato Tasso, La fille du régiment, La favorita, Linda di Chamonix, Don Pasquale, and Poliuto. These were followed (until 1836) by Bellini's I Capuleti e i Montecchi, Norma, La sonnambula, Beatrice di Tenda and I puritani.

In 1839 Oberto Conte di San Bonifacio inaugurated the cycle of operas by Giuseppe Verdi (1813-1901), the composer whose name is linked more than any other to the history of La Scala. After the dismal failure of Un giorno di regno, Nabucco was performed in 1842. It was the first, decisive triumph of Verdi's career. At the same time, the strong patriotic feelings stirred by Nabucco founded the "popularity" of opera seria and identified its image with the Scala.

Arturo Toscanini (1867-1957) became the artistic director and introduced radical reform into the theatre, both in its organisational aspects and in its relations with the public. Toscanini, one of the greatest conductors of all time, took up Verdi's musical inheritance and launched a tradition of interpretation that continued uninterruptedly and was renewed during the twentieth century. It was he who reappraised and regularly performed at the Scala the works of Richard Wagner (hitherto only belatedly and inadequately recognised). He also firmly extended the Scala's orchestral repertoire to include symphonic music.

In 1948 maestro Guido Cantelli (1920-1956) made his debut and established himself as one of the leading postwar conductors. Numerous opera performances productions (the Wagnerian cycle conducted in 1950 by Wilhelm Furtwängler, the Verdi repertoire by Victor De Sabata, etc), concerts (Herbert von Karajan, Dimitri Mitropoulos, Bruno Walter, etc), singers (Maria Callas, Renata Tebaldi, Giuseppe Di Stefano, Mario Del Monaco, etc), ballet performances (Margot Fonteyn, Serge Lifar, Maya Plissetskaya, Rudolf Nureyev), and productions (Luchino Visconti, Giorgio Strehler) belong not only to the history of the Scala, but to that of the history of musical theatre since the war.

In 1965 Claudio Abbado made his début at the Scala and in 1972 was named conductor of the Scala Orchestra. Until 1986 he directed among other works Il barbiere di Siviglia, Cenerentola, L'Italiana in Algeri by Rossini, Simon Boccanegra, Macbeth and Don Carlo by Verdi, the recent Al gran sole carico d'amore by Luigi Nono, and Pelléas et Mélisande by Claude Debussy. He also conducted numerous concerts. The chorus-master was Romano Gandolfi. In 1975 the ballet dancer Oriella Dorella debuted at La Scala. Among other contemporary composers, up till 1986 the Theatre continued to give works by Luciano Berio (La vera storia), Franco Donatoni (Atem) and Karlheinz Stockhausen (Samstag aus Licht).

In 1981 Riccardo Muti debuted at the Scala as an opera conductor (Mozart, Le nozze di Figaro). Giulio Bertola was appointed to direct the Chorus. In 1982 the Orchestra Filarmonica della Scala was established. In 1985 Alessandra Ferri made her debut at the Scala. In 1986 Riccardo Muti was appointed musical director. From 1989 to 1998 he reintroduced the best-loved works (Rigoletto, La traviata, Macbeth, La forza del destino) and numerous other titles by Verdi including Falstaff and Don Carlo.

In 1991 Roberto Gabbiani took over the directorship of the chorus. In 1997 La Scala was converted into a Foundation under private ownership, thus opening a decisive phase of modernisation.

On 7 December 2001 a new production of Otello, conducted by Muti, concluded the Verdi Year and, for the time being, performances at Piermarini’s original building in Piazza Scala. Major restoration and modernisation works of the Theatre began in January 2002.

The 2005-2006 Season, dedicated to the 250th anniversary of Mozart’s birth, was inaugurated by Idomeneo conducted by Daniel Harding. The 2006/07 season saw the return on 7 December of an opera by Verdi, Aida, conducted by Riccardo Chailly, and the launch of the Celebrations for the 50th Anniversary of Arturo Toscanini’s Death. On 7 December 2007 the 2007/08 season opened with Tristan und Isolde conducted by Daniel Barenboim. The opera marked the beginning of a closer collaboration between the Teatro alla Scala and the Israeli-Argentinian Maestro.

Important Info
Type: Opera
City: Milan, Italy
Starts at: 19:30
Acts: 4
Duration: 3h 40min
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