Viva Verdi-4 - LA FORZA DEL DESTINO

One of Verdi’s most memorable scores, this includes two dramatic and breath-taking numbers for Leonora, here very poignantly brought to live by Bulgarian soprano Andriana Yordanova. These are also linked by the very sinister Fate motive which introduces both.

Leonora, disguised as a man, seeks solace and forgiveness at the friar’s convent, where she plans to take refuge and spend the rest of her life as a hermit to make amends for her transgressions. “Son giunta! Grazie, o Dio! Estremo asil quest’è per me!” she intones, before eventually offering her prayers to the “Madre, pietosa Vergine” and begging for the “Signore”’s pity. After learning of her woes, the Padre Guardiano agrees to confine her to a solitary secret cave, where she remains for some time. Leonora eventually emerges from her cave, untidy and distressed, praying for the peace that continues to elude her and for the peaceful release of death, while also admitting her ‘impossible’ love for Alvaro. (“Pace, pace mio Dio”). In a sudden dramatic twist Leonora realises that her secluded space is being trespassed upon and the melodia ends with one of the most climactic finishes in operatic vocal literature.

Malta Philharmonic Orchestra | Conductor: Colin Attard

Director: Denise Mulholland | Director of photography: Matthew Muscat Drago

Set Artist: Andrew Borg Wirth | Costume Designer: Luke Azzopardi

(Photo credits: Betty Bugeja)

The full episode can be followed on:

Meanwhile, Albert G. Storace’s online review reads:

This was the fourth and last of a short but remarkable series of selected scenes from four different Verdian operas. Maltese opera buffs should know that this opera has a sort of Maltese connection. Piave’s libretto is based on a story by Ángel de Saavedra, 3rd Duque de Rivas. Fleeing for his life with a death sentence on his head, this Spanish Liberal politician spent some of his ten years of exile in Malta. He wrote his “Don Álvaro o la fuerza del sino” soon after his return to Spain in 1835. Many years later he was Prime Minister for just ONE day (1854). Some years ago I stumbled quite by chance on his former Madrid residence close to the church of San Miguel.

I do have to say how I was very impressed when I first saw this opera in the mid-1950s. My father, a keen opera buff, summed it up as a “massacre” because all its main characters die a violent death. I also have a soft spot for the work because in the early 1960s I was part of the chorus in a production at the Manoel. Pardon my digression!

A terrible fate awaits all the main characters as well as the minor one of Leonora’s father, the Marquez de Calatrava. At a more mature stage in my life I realised how the plot is rather incredulous with amazing coincidences galore, set in two different countries and the relentless passion and hatred of Leonora’s brother Carlos who hounds everybody to their death, his own included. All this is, to my mind, redeemed by the lush music: vocal solos,duets ensembles and choruses.

The leitmotif of fate appears very frequently beginning with the overture, one of Verdi’s best. It begins with three menacing chords played twice,the very same ones which herald Leonora’s appearance in and around the splendid portico of the Capuchin Friary in Victoria. Leonora disguised as a man arrives exhausted (Son giunta!..) seeking assistance and refuge. She knows her vindictive (and unreasonable) brother who blames her for their father’s [accidental] death is in pursuit of her and her lover Álvaro, of whom she lost track. Desperate, she invokes forgiveness of God and help of the Blessed Virgin Mary (Padre…Madre pietosa Vergine). I found Andriana Yordanova’s interpretation of this invocation very heartfelt, sincere, naturally striking but not over the top. There was a sort of dignified suffering in her imploring, beautiful, clear voice and the magnificent well-wrought climaxes and oneness with the orchestra.. It really makes one empathise with her and I easily find the character and role of Leonora as one of the most likable of Verdi’s creations.

By the time Leonora sings Pace, pace mio Dio, (introduced yet again by the sinister fate motif), she has been accepted as a member of the monastic community: her true identity only known to the Prior (or Padre Guardiano). She has been installed in a small hermitage some way from the monastery. The setting was in part of the gorgeously idyllic Lunzjata valley and its little church nestling in a cave outside Victoria. Food is regularly provided to her. She prays for peace and solace but finds this difficult. Impossible, one would say because the life of prayer, penance and meditation by which she hopes to achieve her aim is nullified. She cannot find peace because she is heart-broken. She does not know whether Álvaro is dead or alive and all this comes out in her heart-rending line “Álvaro io t’amo e non ti vedrò mai più!” It still gives me the shivers even while writing this.

In this scene Andriana Yordanova was again a first-class singing actress, all passion and pathos, strong of voice and phrasing. The synchronisation between voice and orchestra was faultless. So was the balance of forces in the unshakably sustained, clear and tremendous concluding fourth “..maledizion’ !!! The rapport between singer and orchestra was clear and one hopes one will hear more of this talented and widely experienced soprano.

As I conclude my last review of this series I have to mention yet again and give due praise to the team behind it all. All the singers, Colin Attard for his tireless energy and handling of our superb Malta Philharmonic Orchestra; Artistic director Denise Mulholland, filming and photography by Matthew Muscat Drago, Luke Azzopardi’s dress design and Andrew Borg Wirth’s sets and of course Gaulitana Festival. Thanks too to all the sponsors. I know a lot of hard work was involved. May one dare hope for more next year? THANK YOU ALL.

Email:	gaulitanus@gmail.com / gaulitanafestival@gmail.com
Phone:	(+356) 77038971 / 21560200 / 21557593

Viva Verdi-4 – LA FORZA DEL DESTINO

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