Julien Benhamou / OnP

Opera

La Forza del destino

Giuseppe Verdi

Opéra Bastille

from 12 to 30 December 2022

3h50 with 2 intervals

La Forza del destino

Opéra Bastille - from 12 to 30 December 2022

Synopsis

As the curtain rises, Don Alvaro makes ready to flee with Leonora. Alas, the two lovers are surprised by the young woman’s father. Alvaro throws his pistols to the ground but one of them goes off and kills the father: destiny is pitiless and laughs at men’s fates. A grand fresco full of plot twists in which the father’s curse overshadows all, La Forza del destino, like Rigoletto and Il Trovatore, is also a work of its time. In 1861, Verdi agreed to become a parliamentary deputy in order to pursue his political ideals. However, the Risorgimento was flagging and the composer was assailed by doubts. A certain dark melancholy suffuses the score, where the motif of destiny recurs throughout alongside the idea of redemption. In Jean‑Claude Auvray’s production, opera becomes a place where dreams shatter against the wall of reality whilst there emerges a fragile yet intoxicatingly beautiful song of hope.

Duration : 3h50 with 2 intervals

Language : Italian

Surtitle : French / English

  • Opening

  • First part 80 min

  • Intermission 30 min

  • Second part 60 min

  • Intermission 20 min

  • Third part 40 min

  • End

Show acts and characters

CHARACTERS

The marquis of Calatrava: A Spanish noble
Leonora di Vargas: The marquis’ daughter

Don Alvaro: Son of a Spanish noble and an Inca princess
Don Carlo di Vargas: Leonora’s brother
Preziosilla: A vivandière
Il padre Guardiano: Father Superior in the monastery
Fra Melitone: A Franciscan and military chaplain
Trabuco: A muleteer and pedlar
Curra: Leonora’s chambermaid

FIRST PART – IN SPAIN

At the home of the Marquis of Calatrava, near Seville…
Dinner is coming to an end in the castle dining room. The Marquis takes leave of his daughter Leonora and retires. A galloping horse is heard... It is Don Alvaro, the son of a Spanish noble and the last princess of the Incas. Leonora and Alvaro are in love. The young girl’s father opposes their union and they have decided to elope. 

The Marquis surprises them. Alvaro refuses to fight a duel with him. He offers him his pistol and Leonora rushes between them. As it drops, the pistol goes off and fatally wounds the Marquis. The old man falls to the ground cursing his daughter. Alvaro and Leonora manage to escape.

“Sinfonia”

During his flight, Alvaro was wounded by a servant. Leonora has taken refuge with a female relative. The two lovers are separated. Carlo, the Marquis’ son, has set out on the trail of the fugitives.

Eighteen months later. An inn in the village of Hornachuelos, at sunset...
Leonora, disguised as a young man, has set off in search of Alvaro. Guided by a muleteer, Trabuco, she comes to spend the night at the inn. Already desperate, she is yet more terrified when, among the clients of the inn, she recognises her brother Carlo. The latter believes her to be dead and, disguised as a student, is in search of Alvaro. 

Preziosilla the vivandière enters. She announces that war has broken out between the Italians and the Austrians. She is recruiting soldiers and exalts the pleasures and advantages of military life. She predicts the future for several of those around her and sees through Carlo’s false appearance. The latter is forced to buy her silence. But he is also highly intrigued by the “strange traveller” accompanying Trabuco. 

The prayers of a pilgrims’ procession making its way to the jubilee interrupt his investigations. Leonora will take advantage of this to flee after hearing her brother tell the story of one of his friends, his own story in fact! Thus learning that Alvaro is alive, she believes herself to be abandoned.

In front of the Madonna degli Angeli monastery in the middle of the night...
Leonora comes to the monastery gate. After imploring the virgin, she asks for Father Guardiano’s protection. She has come to seek refuge with God, amidst the solitude of those who have chosen to forsake the world. After a long hesitation, Father Guardiano accepts to help her. She will find refuge in a holy place, near the monastery, where no one will come to disturb her isolation.

In the monastery church, at dawn... 
The monks are all gathered together. Father Guardiano explains to them that a lost soul has come to repent and atone for its faults inside the sacred hermitage, which no one is to approach on pain of divine malediction. He gives his blessing to Leonora. Once the ceremony is over, she sets off to her mountain retreat.

SECOND PART – IN ITALY

Two years have passed. In the vicinity of the Velletri battleground, by night, inside a military camp...
Don Alvaro has joined the army under a false name. He bewails his miserable fate. Believing Leonora to be dead, he hopes to die in battle and thus join her in the afterlife. Gamblers are quarrelling. Alerted by their cries, Alvaro intervenes and saves the life of an officer attacked by cheats. The officer is none other than Carlo, Leonora’s brother. He too has an assumed name. They both swear eternal friendship. 

Battle breaks out. Alvaro, gravely wounded, asks Carlo to burn the letters he entrusts to him without reading them if he should die. Surprised by this request, and after a certain hesitation, he finally examines the documents and discovers among them a miniature portrait of his sister. He now realises the true identity of his new friend and swears to at last avenge his father’s death.

A few weeks later.
A patrol is inspecting the outskirts of the camp. Alvaro has recovered. Carlo has at last found his trail. He introduces himself under his real name and challenges him to a duel. Soldiers run up and separate them. Remaining alone, Alvaro throws down his sword and decides to enter a monastery. He flees.

Day breaks over the countryside...
Vivandières and soldiers bustle about the camp, encouraged by Preziosilla and her “friends”. A pedlar buys up for a pittance all that the soldiers have pillaged during the battles. Mothers bewail the fate awaiting their sons, young recruits. These future soldiers are immediately consoled and motivated by Preziosilla. The vivandières drag them into a boisterous tarantella from which there suddenly emerges a monk caught up in the general commotion. It is Brother Melitone. Having become a military chaplain he seeks to preach the good word, but his sermon attracts nothing but jeers and he is obliged to flee. Preziosilla and her partners set up a makeshift theatre. They improvise a show for the soldiers. Exalting war and victory, she invites them to join in her famous “Rataplan”.

THIRD PART – IN SPAIN

Five years have passed. It is winter. The courtyard of the Hornachuelos monastery, in the evening...
After entering the monastery Alvaro has become Father Raphael. As food and drink are distributed to the poor who are dying of cold, the latter sing the praises of this mysterious monk, thus provoking the jealousy and anger of Melitone much to the amusement of Father Guardiano. Carlo, even more decided on revenge, has discovered Don Alvaro’s hiding place. In a dramatic scene, he manages to force Alvaro to abandon his pious serenity. They go out to fight a duel.

A hermitage near the convent: an abandoned and remote place...
Leonora, still tortured by her tragic memories, begs heaven for peace for her soul. The battle between Carlo and Alvaro obliges her to return to her retreat. Carlo is fatally wounded. He asks his adversary to hear his last confession. Alvaro, now judging himself unworthy of carrying out his ministry, runs off in search of the “hermit”. 

Suddenly thrown together, the two lovers are terrified. Each believed the other to be dead. Leonora rushes to the side of her dying brother. The latter, unyielding, fatally wounds her before dying. Leonora passes away peacefully, begging for divine compassion. Father Guardiano invites Alvaro to bow before the will of God.

Artists

Opera in four acts (1862)

Creative team

Cast

Original production by Jean-Claude Auvray, revival directed by Stephen Taylor
Orchestre et Chœurs de l’Opéra national de Paris
Coproduction avec le Gran Teatre del Liceu, Barcelone

Media

  • Draw-me La Forza del destino

    Draw-me La Forza del destino

    Watch the video

  • Verdi, a political observer of his time

    Verdi, a political observer of his time

    Read the article

  • “A production that makes a lasting impression”

    “A production that makes a lasting impression”

    Watch the video

Draw-me La Forza del destino

Watch the video

Understand the plot in 1 minute

1:27 min

Draw-me La Forza del destino

By Matthieu Pajot

As the curtain rises, Don Alvaro makes ready to flee with Leonora. Alas, the two lovers are surprised by the young woman’s father. Alvaro throws his pistols to the ground but one of them goes off and kills the father: destiny is pitiless and laughs at men’s fates. A grand fresco full of plot twists in which the father’s curse overshadows all, La Forza del destino, like Rigoletto and Il Trovatore, is also a work of its time. In 1861, Verdi agreed to become a parliamentary deputy in order to pursue his political ideals. However, the Risorgimento was flagging and the composer was assailed by doubts. A certain dark melancholy suffuses the score, where the motif of destiny recurs throughout alongside the idea of redemption. In Jean‑Claude Auvray’s production, opera becomes a place where dreams shatter against the wall of reality whilst there emerges a fragile yet intoxicatingly beautiful song of hope.  

© Andrea Messana / OnP

Verdi, a political observer of his time

Read the article

Myth and reality

06 min

Verdi, a political observer of his time

By Charlotte Ginot-Slacik

For us Italians speaking about Verdi is like speaking about our father… Massimo Mila, 1951

How does Verdi’s political activism manifest itself in his work? How does the composer’s view of the world take root in a work as sombre and fatalistic as La Forza del destino, or in the operatic paradigm that is Don Carlos? Musicologist Charlotte Ginot examines the question by exploring the paths that connect music and history.  


The character of Leonora, “not only a romantic reference but one of social liberation, a catalyst (…) a theatrical tradition in which the woman represents rupture, struggle, emancipation.” Thus did composer Luigi Nono evoke La Forza del destino in 1975. That Marxist analysis reflects political perceptions of Verdi. Nono’s words match the images of Luchino Visconti which, from Senso (1954) to The Leopard (1963), steadfastly bind the composer to the process of Risorgimento. These are reinforced by the analyses of 20th century Verdi musicologists. Through a series of political portraits Verdi’s commitment appears retrospectively as a premonitory gesture for Italian artists engaged in the renewal of a society long afflicted by fascism (1922-1944).
And yet… In Verdi’s view the politician defies superficial linear analysis. Politics appear in Simon Boccanegra (1857-1881) in the evocation of the ideal monarch, namely, the former corsair who became the doge of Venice. Politics again in his evocation of oppressed national entities (the famous “Va pensiero” » from Nabucco and “O signore dal tetto natio” in I Lombardi), be it the Hebrews under the yoke of the Egyptians or the indigenous Amerindians rising up against the Spanish… Politics again in the complex evocation of the relationship between the Church and the State in Don Carlos. But is all that enough to justify the “Verdi myth” which posits the composer as the catalyst of national aspirations? Nothing could be less evident.
When Verdi began to compose La Forza del destino, his patriotic sympathies were no longer a mystery. “If I could, I would have liked to have been an ordinary soldier like you, but all I can be is a tribune” he wrote to Piave his librettist in March 1848, during the height of the insurrection in Milan. Nevertheless, he was careful not to clamber onto the barricades—unlike Richard Wagner sentenced to death in absentia for his participation in the Dresden uprising.
Between 1848 and 1860, the composer did not play a major role in the slow process of Italian unification, despite the famous acrostic Viva VERdI—Viva Vittorio Emanuele Red’Italia (Long live Victor Emanuel, King of Italy). Rather than identifying Verdi with the unity of the country, those words primarily conveyed the notion that in Italy opera remained the art of national aspirations. As early as 1828, Heinrich Heine noted that “Words are forbidden to poor enslaved Italy and she can only express the feelings of her heart through music.” Yet the association of the operatic stage with patriotism was not specific to Verdi; it emerged as early as the era of Rossini and Bellini. Indeed, Norma (1831) depicts the Gauls’ struggle to rid themselves of the Roman invader: “Oh, under the ignoble yoke of the Tiber, I too shudder and yearn to take up arms (…). Let us conceal our indignation in our hearts so that Rome believes it is extinguished! The day will come when it will awaken, and it will burn, more terrible than ever”. And while Bellini called for a revolt, Verdi, during the same period, was composing a cantata in honour of the Austrian emperor Ferdinand I…
However, by 1859 the political context had changed. Personified by the charismatic figure of Cavour the quest for national unity finally pushed Verdi to become actively involved in politics. In June, the composer started a fund to support the wounded of the war against Austria. “The victories achieved so far by our brave brothers have not been without a great deal of bloodshed, and therefore, not without causing the ultimate grief for thousands of families! At moments such as this, all those who have an Italian heart must support, according to their own means, the cause for which we fight.” The war ultimately ended in a compromise: the Austrians retained Venetia, however, numerous provinces on the peninsula were able to unite with the Piedmont of Victor-Emmanuel. Verdi was disconsolate: “Where, then is this independence for Italy that we were promised? What is the meaning of the Milan proclamation? That Venetia is not Italy? Such a result after so many victories! So much bloodshed for nothing! It’s maddening!”.
Fascinated by Camillo Paolo Filippo Benso, the Count of Cavour, whom he met at the time, he was persuaded to lend his support to the new government. He was elected as a deputy and for a while gave up music, signing one of his letters: “A deputy from central Italy who for many years was stupid enough to spend his time composing music…”. The composer expressed his desire to write a national anthem for Italy and in the year that La Forza del destino premiered, he wrote Inno delle nazioni, to a text by the librettist Arrigo Boito which celebrated Italy’s rediscovered glory among the concert of European nations.
On June 6, 1861, Cavour died in Turin; on October 26, the kingdom of Italy was proclaimed. On November 10 1862, La Forza del destino had its premiere in Saint Petersburg. Verdi turned his back on politics. Moreover, his contribution to the life of the nation can be summed up by a failed attempt to reorganise the operas and conservatories. “Italy has been made, now it remains to make the Italians” (Massimo d’Azeglio). In 1867, Don Carlos painted a disillusioned picture of the exercise of power: The political ambitions of Philip II clashed with the religious dogma of his inquisitor. A devouring figure, capable of condemning his own son to death, the emperor also appeared to be a sovereign overwhelmed by the solitude of power.
Verdi, “father” of modern Italy? Beyond the comforting myth promoted throughout the following century, his work undeniably bears witness to the political contradictions of a nascent Italy.

© Julien Benhamou / OnP

“A production that makes a lasting impression”

Watch the video

La Forza del destino from the audience's point of view

2:30 min

“A production that makes a lasting impression”

By Cyril Pesenti

La Forza del destino is being performed at the Paris Opera until July 9th 2019. Specially for this occasion, Octave met audience members on one of these evenings dedicated to the work of Italian composer Giuseppe Verdi. Remarks from audience members, accompanied by extracts from the production staged by Jean-Claude Auvray.

  • [EXTRAIT] LA FORZA DEL DESTINO by Verdi - "La Vergine degli Angeli" (Anna Pirozzi)
  • [EXTRAIT] LA FORZA DEL DESTINO, Verdi - Le minacce, i fieri accenti (Russell Thomas, Ludovic Tézier)
  • Les spectateurs de LA FORCE DU DESTIN réagissent au spectacle
  • [EXTRAIT] LA FORZA DEL DESTINO by Verdi - "Urna fatale del mio destino" (Ludovic Tézier)
  • [EXTRAIT] LA FORZA DEL DESTINO by Verdi - "Solenne in quest'ora" (Ludovic Tézier, Russell Thomas)
  • La Force du destin (saison 22/23) - Acte2 - Ludovic Tézier

  • La Force du destin (saison 22/23) - Acte1 - Sinfonia(début)

  • La Force du destin (saison 22/23) - Acte1 - Sinfonia(fin)

  • La Force du destin (saison 22/23) - Acte2 - Anna Pirozzi

  • La Force du destin (saison 22/23) - Acte2 - Anna Pirozzi, Ferruccio Furlanetto

  • La Force du destin (saison 22/23) - Acte2 - Anna Pirozzi

  • La Force du destin (saison 22/23) - Acte3 - Russell Thomas), Ludovic Tézier

  • La Force du destin (saison 22/23) - Acte3 - Russell Thomas

  • La Force du destin (saison 22/23) - Acte4 - Russell Thomas, Ludovic Tézier

  • La Force du destin (saison 22/23) - Acte4 - Anna Pirozzi

Access and services

Opéra Bastille

Place de la Bastille

75012 Paris

Public transport

Underground Bastille (lignes 1, 5 et 8), Gare de Lyon (RER)

Bus 29, 69, 76, 86, 87, 91, N01, N02, N11, N16

Calculate my route
Car park

Q-Park Opéra Bastille 34, rue de Lyon 75012 Paris

Book your parking spot
  • Cloakrooms

    Free cloakrooms are at your disposal. The comprehensive list of prohibited items is available here.

  • Bars

    Reservation of drinks and light refreshments for the intervals is possible online up to 24 hours prior to your visit, or at the bars before each performance.

  • Boutiques

    A selection of works items are available on our various boutiques: Online store and The Opéra Bastille Shop.

    LEARN MORE.

  • Last-minute tickets

    Special reduced rates for people under the age of 28, unemployed and seniors over 65 are available. 

    LEARN MORE.

  • Parking

    You can park your car at the Q-Park Opéra Bastille. It is located at 34 rue de Lyon, 75012 Paris. 

    BOOK YOUR PARKING PLACE.

In both our venues, discounted tickets are sold at the box offices from 30 minutes before the show:

  • €35 tickets for under-28s, unemployed people (with documentary proof less than 3 months old) and senior citizens over 65 with non-taxable income (proof of tax exemption for the current year required)
  • €70 tickets for senior citizens over 65

Get samples of the operas and ballets at the Paris Opera gift shops: programmes, books, recordings, and also stationery, jewellery, shirts, homeware and honey from Paris Opera.

Opéra Bastille
  • Open 1h before performances and until performances end
  • Get in from within the theatre’s public areas
  • For more information: +33 1 40 01 17 82

Opéra Bastille

Place de la Bastille

75012 Paris

Public transport

Underground Bastille (lignes 1, 5 et 8), Gare de Lyon (RER)

Bus 29, 69, 76, 86, 87, 91, N01, N02, N11, N16

Calculate my route
Car park

Q-Park Opéra Bastille 34, rue de Lyon 75012 Paris

Book your parking spot
  • Cloakrooms

    Free cloakrooms are at your disposal. The comprehensive list of prohibited items is available here.

  • Bars

    Reservation of drinks and light refreshments for the intervals is possible online up to 24 hours prior to your visit, or at the bars before each performance.

  • Boutiques

    A selection of works items are available on our various boutiques: Online store and The Opéra Bastille Shop.

    LEARN MORE.

  • Last-minute tickets

    Special reduced rates for people under the age of 28, unemployed and seniors over 65 are available. 

    LEARN MORE.

  • Parking

    You can park your car at the Q-Park Opéra Bastille. It is located at 34 rue de Lyon, 75012 Paris. 

    BOOK YOUR PARKING PLACE.

In both our venues, discounted tickets are sold at the box offices from 30 minutes before the show:

  • €35 tickets for under-28s, unemployed people (with documentary proof less than 3 months old) and senior citizens over 65 with non-taxable income (proof of tax exemption for the current year required)
  • €70 tickets for senior citizens over 65

Get samples of the operas and ballets at the Paris Opera gift shops: programmes, books, recordings, and also stationery, jewellery, shirts, homeware and honey from Paris Opera.

Opéra Bastille
  • Open 1h before performances and until performances end
  • Get in from within the theatre’s public areas
  • For more information: +33 1 40 01 17 82

Discover opera and ballet in another way

QR code

Dive into the Opera world and get insights on opera and pop culture or ballet and cinema. Scan this code to access all the quiz and blindtests on your mobile.

opera logo

2 min

La Forza del destino

Quiz: Verdi and his operas

Play

Immerse in the Paris Opera universe

Follow us

Back to top