Somebody might find the last two words of my review summary somewhat oxymoronic. What I do mean is that while La Forza Del Destino is rather sprawling in its story, another big part of an opera's appeal is the music, and that aspect in the opera is magnificent. This Forza is interesting for the use of the 1862 version and the use of the original ending, but I don't consider it the best version. That is between the 1958 San Carlo performance with Tebaldi, Corelli, Bastianini and Christoff, the 1978 La Scala performance with Caballe, Carreras, Cappuccilli and Ghiaurov and the 1984 Met performance with Price, Giacomini, Nucci and Giaotti(though that production seems to have a fair number of people indifferent to it). The 1996 Sweet, Domingo and Chernov and 1981 Tomowa-Sintow, Luchetti, Wixell and Plishka productions are also worth watching.
This production is not perfect. While I am aware that there could be an improved version out there since, the synchronisation didn't always seem to be very consistent, with the image behind the sound by at least a beat. It does give the impression that you are watching one production and hearing something completely different, especially true in Alvaro and Carlo's final duelling scene. Also, while she does generally have a great voice especially towards the lower end, Galina Gorchakova lacks the legato and sometimes the musicianship needed for La Vergine Degli Angeli and Pace, Pace Mio Dio and sometimes her top sounds pinched.
Other than the synchronisation lapses, the production does look great, brooding and beautiful. The staging also works very well, especially in the crowded inn, monastery and brawling camp scenes, all presented in an ardent, patriotic and melancholic fashion. In regard to the musical values, the orchestral playing are both sensitive(for Leonora's arias) and powerful(for the overture and the cabaletta of Carlo's Morrir Tremenda Cosa...Urna Fatale). Valery Gergiev's conducting is always secure, passionate and enigmatic(like with his fingers). The chorus are also rousing if very Russian in sound.
The performances, Gorchakova aside, are fine. Gegam Grigorian as Alvaro was a real surprise. It is one of the more intensely-characterised performances in the role on DVD, Alvaro here is alcoholic and unkempt, which was an interesting approach, and his singing is dark and ringing. I much prefer the ending that I am more used to, but it worked with Alvaro's character here. Nikolai Putlin is a commanding Carlo with a rich voice, Padre Guardinio is suitably sympathetic, Melitone is characterful and the performance of Preziozilla is wonderful.
In conclusion, very interesting if not the best version. 8/10 Bethany Cox
This production is not perfect. While I am aware that there could be an improved version out there since, the synchronisation didn't always seem to be very consistent, with the image behind the sound by at least a beat. It does give the impression that you are watching one production and hearing something completely different, especially true in Alvaro and Carlo's final duelling scene. Also, while she does generally have a great voice especially towards the lower end, Galina Gorchakova lacks the legato and sometimes the musicianship needed for La Vergine Degli Angeli and Pace, Pace Mio Dio and sometimes her top sounds pinched.
Other than the synchronisation lapses, the production does look great, brooding and beautiful. The staging also works very well, especially in the crowded inn, monastery and brawling camp scenes, all presented in an ardent, patriotic and melancholic fashion. In regard to the musical values, the orchestral playing are both sensitive(for Leonora's arias) and powerful(for the overture and the cabaletta of Carlo's Morrir Tremenda Cosa...Urna Fatale). Valery Gergiev's conducting is always secure, passionate and enigmatic(like with his fingers). The chorus are also rousing if very Russian in sound.
The performances, Gorchakova aside, are fine. Gegam Grigorian as Alvaro was a real surprise. It is one of the more intensely-characterised performances in the role on DVD, Alvaro here is alcoholic and unkempt, which was an interesting approach, and his singing is dark and ringing. I much prefer the ending that I am more used to, but it worked with Alvaro's character here. Nikolai Putlin is a commanding Carlo with a rich voice, Padre Guardinio is suitably sympathetic, Melitone is characterful and the performance of Preziozilla is wonderful.
In conclusion, very interesting if not the best version. 8/10 Bethany Cox
