La Forza Del Destino

La Forza del Destino has always been one of my favorites in the Verdi canon. Starting with Grandmother's RCA Victor 78 of E. Caruso and A. Scotti singing the Act 3 duet "Solenne in quest'ora". I've seen a dozen or more productions over the years both in America (Lyric-Chicago, Met-New York) and Europe (Rome, Verona, Naples, London). I had five versions on LP and now have four on DVD and one on Blu-ray. Needless to say the quality has varied considerably among these productions and recordings but I would say that the present Blu-ray disc is the dullest of them all. My first staged version was Renata Tebaldi and Richard Tucker (mid 50s)that brought down the house. The next was Eileen Farrell and Carlo Bergonzi that was equally successful. And then there were the many times at the Met when the reining ultra Prima Donna was Zinka Milanov and after she finished performing "Pace, pace mio dio" the noise from the audience was louder than anything you'd have heard at Yankee Stadium after a winning home run. More recently I've seen Montserrat Caballe', Jose Carreras, Leontyn Price, Leo Nucci as Don Carlo de Vargas etc. etc. I was terribly disappointed in the opening sections of the present recording until Leonara (Urmana) arrives at the Monastery (the only set in this production I liked). My interest picked up and held for all places and times where she performed. But for the rest of the times-no. Violeta Urmana has the makings of a grand old-style spinto Leonora without a hint of bel-canto. The kind of voice we need for Trovatores, Forzas, Ernanis; the old-fashioned high Italian romantic style. The Don Alvaro of Marcello Giordani is adequate; he even reminded me of Bergonzi, but he is not there yet. The Don Carlo de Vardas of Carlo Guelfi was a keen disappointment. He sounded sour and is no actor. He rushes in swearing to kill Don Alvaro but he is looking at the conductor and not at Don Alvaro. The Preziosilla of Julia Gertseva was silly; no verve or elan. She should sparkle and be a coquette. Julia acted as if presiding at a Sunday School picnic. The Padre Guardano of Scandiuzzi was well sung but he does not have the rich depth of voice of a Ghiaurov or Christoff. The orchestral score that Verdi has provided is exciting, excessive and unabashedly Italian romantic. Here they sound like they are playing a German requiem. Only Urmana was first class.Yes, I know I sound like the "old opera critic" complaining as M. Gleeson, the previous reviewer described. So be it, I stand guilty as charged. But Forza is near and dear to me. I want it done with respect.n.b. In old productions of this opera at the denouement after Leonora has been killed by her dying brother, Don Alvaro runs off and jumps off a cliff to his death. Presently he is left on stage to mourn with Padre Guardiano. Verdi was never happy with the ending of the opera even after the new revision of 1869 by Ghislanzoni. cf Budden, Julian. The Operas of Verdi, vol 2, pp 435ff

As another reviewer implied, I think this is best viewed as an historical document.I'm not sufficiently knowledgeable about singing to rate the performances, but I see no reason to disagree with all the glowing reviews of Tebaldi's and Corelli's performances.If you are not such a huge Tebaldi or Corelli fan to buy this merely for the opportunity to see their performance on video, however, you should be aware of what to expect.First, this is very much a kinetoscope recording, and, as you might expect, very blurry. Actually, I think it is, quite often, blurrier than you might expect, probably reflecting the challenges of broadcasting from an opera house as opposed to a TV studio.The audio is mostly fairly good, but seems quite variable, generally good, and sometime very good, when Tebaldi is singing, somewhat less so for Corelli, the recording seems to capture the higher the tones better. Whenever an individual is singing along with the chorus, the quality tends to be worse, sometimes much worse, although oddly not consistently. I imagine that was harder to "mike." When only the chorus is singing, sometimes the recording sounds great.Finally, be aware this is definitely not a lavish production. The painted scenery looks like it is left over from a 19th Century production. At least that is probably less noticeable, given the black and white and blurry.The plot is, of course, ridiculous, but if you are bothered by that, you likely wouldn't be watching opera.One other note and NOTA BENE: The disk contains an interview with Tebaldi, recorded years later, as a bonus, BUT it is in Italian, and, unlike the opera, has no subtitles. The disk menu is also in Italian, but it is not hard to figure out what is what on it.Hard to decide on stars for this, so settled on three. If your main interest is in seeing these particular two singers together in a performance, then five seems appropriate, as many reviewers gave it. If your goal is a performance that is going to look good on a larger screen TV, then one star might be appropriate from that point of view.

Unfortunately this is not Tebaldi, nor is it Price. This Leonora has a strong wobble on the high notes; the voice is rather unpleasant lacking the warmth of the 2 ladies already mentioned. The rest of the cast is serviceable. One misses a Siepi as Guardiano. On the whole a performance to be bypassed. Sorry.

Another Tebaldi triumph, this time with Franco Corelli, rereleased to my utter delight. For decades Madame Tebaldi owned this opera. No Leonora has come to the fore since she stopped singing the role in the early 70's. "Pace! Pace! has never been heard better, I'm sure. But here again, the video is taxing, although a bit better than "Andrea Chenier."

Poor staging with irritating female leads. Inconsistent sound will force remote in hand. Can't recommend.

What can I say about this dream production that hasn't been said for this 2001 DVD and an identical DVD that was put out in 2003?[...]Tebaldi's voice is unbelievably beautiful and the rest of the dream cast sing like a dream. For a 1958 recording, the picture is fine and the sound is excellent. The only thing I didn't like were the cuts. The scene in which Don Carlo reveals himself to Don Alvaro was cut, so we don't see why Don Alvaro knows Don Carlo is his enemy when they meet again.Overall, it is an amazing production, and I highly recommend it.

This is a performance of Verdi's "la Forza del Destino" which is hard to surpass in any medium, be it DVD or even CD.All the singers are excellent and provide one of the most thrilling performances one can imagine. The conductor and the orchestra are in top form and the staging is very faithful to the story, something hard to find in modern performances. The image, unfortunately is somewhat lacking, but the sound is just about acceptable. There are plenty of performances of the opera these days, but none come anywhere near to compare with this one.

Verdi - La Forza Del Destino (Tebaldi, Corelli) [DVD] [1958]First, the caveats: I'm not quite clear whether this is a film of a live performance or a live broadcast: either way, sound quality was advancing from the mid-fifties onward and here, though it is not as good as you might expect, is reasonable; the picture quality is poor (if this was a live TV broadcast, one might have expected the reverse to be true). The sets are a little embarrassing (no - very embarrassing); the production rather stolid, of the kind that was beginning to change when I started going to opera, but is unexceptionable, involving and moves the drama along. So why five stars? If I could give twenty, five each for Corelli, Bastianini, Christoff and Tebaldi (the only one of the principals whom, to my eternal regret, I did not see live) I would: and I'd feel a bit mean, as if I were damning with faint praise. It's not merely the quality of the singing (expected, of course) - it's the way in which they all react to each other (which I did not wholly expect). You could add a couple of bonus stars for Cappechi as Fra Melitone. Highly recommended, but remember the caveats!

MARVELOUS,PERFORMANCE OTHER GREAT HISTORICAL RECORDING PRESERVED LEGENDARY 1958 PERFORMANCE SAN CARLO NAPLES,LINE UP COULD NOT BE REPEATED, BASTIANINI GREATEST POST WAR BARITONE EVER, LOST TO EARLY.

First Class ProductionAmazing singing, dancing and acting. Minimal dark staging which lends itself superbly to each act. Costuming is dark and sombre but suits this opera perfectly. I have seen multiple versions of La Forza over the years but I rate this as one of the greats. I saw the full opera on Youtube and bought it immediately on dvd. I have also bought it again on blu ray, which is absolute perfection.

Excellent!!!

Un' edizione strepitosa, nonostante le carenze video. Perché una ripresa TV (?) del 1958 fatta con mezzi dilettanteschi fa tenerezza perché riporta all' infanzia, però è davvero difficile da vedere. Ecco perché soltanto quattro stelle. Ma l' audio è abbastanza buono, soprattutto sulle voci; meno per l' orchestra. E la voci sono il massimo che si potesse avere, tutte insieme, in quel momento. Tebaldi è magnifica, con il suo timbro impareggiabile e una tecnica perfetta che le consente di salire e scendere con facilità, di rinforzare o di smorzare senza problemi. Non esiste Leonora migliore; "Pace mio Dio" è meravigliosa. Corelli ha una potenza di suono impressionante e una tecnica ragguardevole; ottimo interprete, dà vita a un Alvaro magnifico. Da ascoltare "O tu che in seno agli angeli". Anche Bastianini, ancora integro nella voce, è un Don Carlo di grande fascino. Christoff, a dispetto della sua inflessione slava, è un Padre Guardiano molto efficace. Ottima, sotto il profilo vocale, la Dominguez. Così così Capecchi, sempre un po' eccessivo. Le coreografie sono molto "datate". Il direttore, Molinari-Pradelli, ha ottimi momenti: peccato che l' orchestra sia un po' penalizzata dalla registrazione. Da conoscere.

Dopo la storica "Forza" scaligera di riferimento del 1978 ma pessima nel riversamento in dvd, la stessa Arthaus si riscatta con quest'edizione fiorentina di quasi trent'anni successiva guidata con sapienza dalla mano esperta di Zubin Mehta nella versione milanese del 1869. Anzitutto il trio di interpreti principali di notevole valore: su tutti spicca la Leonora di Violeta Urmana, senz'altro all'altezza della Caballé scaligera per emissione vocale e impegno anche in pezzi molto difficili, ma ben affiancata da Marcello Giordani nei panni di Alvaro, forse meno impetuoso di Carreras ma ugualmente efficace soprattutto nel sapere graduare l'emissione vocale nelle parti meno concitate. Infine Carlo Guelfi nel ruolo di Carlos, che, dopo un inizio non molto entusiasmante (il peso degli anni con voce più tenorile che baritonale) è emerso negli ultimi due atti per quello che è, un grande baritono, anche se certo un gradino più sotto (anche cone attore) rispetto al grandissimo Cappuccilli dell'edizione scaligera soprattutto nell'uniformità della tessitura baritonale verdiana del non semplice personaggio. Gli altri comprimari, ivi compresa la Preziosilla della Gertseva e il Melitone di De Simone, sono stati tutti all'altezza, ma vorrei citare Roberto Scandiuzzi, a mio parere eccezionale come Padre Guardiano che sicuramente può stare all'altezza dell'immenso Ghiaurov scaligero. Molto bene i complessi corali e lcoreutici in una regia di stampo tradizionale di Nicholas Joel molto sulla falsariga di quella milanese del 1978. Per finire presa del suono e soprattutto video (non in HD) - finalmente - ECCELLENTI!

Ce titre du chef-d’œuvre majeur de Marcel Proust convient parfaitement à ce que l’on ressent à l’écoute de ce DVD d’exception.Nous pourrions aussi proposer en étant plus précis : « A la recherche d’UN temps perdu » tant ce témoignage est le reflet imparfait d’une époque révolue… perdue !Est-il en effet envisageable ou possible à notre époque de présenter sur scène un tel plateau ? Je crains que non !Renata Tebaldi, Boris Christoff, Franco Corelli, Ettore Bastianini ; qui plus est accompagnés à la baguette par un chef Francesco Molinari Pradelli a la vigueur toscaninienne : on croit rêver et nous rêvons !Ils nous offrent la plus belle « La forza del destino » de toute la vidéothèque. Il est nécessaire de souligner que cette même distribution existe en CD. Alors pourquoi se procurer le DVD ?DVD qui affiche son âge: 1958 : images en noir et blanc de piètre qualité, sans contrastes et floues, au format 4/3. Heureusement le son est correct.Alors pourquoi ? Pour le plaisir incomparable de voir ou revoir ces icônes exceptionnelles du chant ! Les voir vivre leurs rôles. Prendre conscience que loin de la froideur attribuée habituellement à Tebaldi, elle habitait le personnage de Leonora avec une intensité incomparable, retrouver l’imposante présence de Boris Christoff, la vaillance et la beauté de Corelli et la majesté de Bastianini.Ce DVD est unique porteur du souffle et des larmes « d’un temps perdu »

La realizzazione del blu ray è ottima per le riprese video e buona anche per la resa del sonoro. Come ravvisato anche per la produzione di "Ernani", del medesimo teatro Regio di Parma, contrariamente a quanto dichiarato nelle caratteristiche tecniche del disco, nel menu di scelta del medesimo non sono presenti le opzioni di selezione tra i due formati audio dichiarati in copertina e neppure per i sottotitoli sempre in essa previsti. Ho seguito quindi lo spettacolo col mio stereo, senza l'ausilio dei suddetti sottotitoli.Per quanto riguarda la esecuzione musicale mi è sembrata buona, anche se spesso è priva di quella tensione drammatica che caratterizza quest'opera. Molto bella la realizzazione scenica e l'uso delle luci, perfettamente godibili per l'ottima resa delle riprese video. Più discutibile mi è sembrato l'eccessivo simbolismo adottato dalla regia, che staticizza l'azione scenica oltre il lecito, anche se alcune coreografie le ho trovate non prive di una certa suggestione. Complessivamente trovo che questo sia un buon spettacolo, con una menzione particolare per la Donna Leonora di Dimitra Theodossiou ed il fra' Melitone di Carlo Lepore.Deprecabile invece l'usanza di dichiarare in copertina delle opzioni di selezione per menu inesistenti.

no es una representación para tirar cohetes, por 20 euros no está mal pero por más no. Por ese precio es mejor la que hay del Metropolitan con Leontine Price, aunque sea una producción más antigua, pero es más cercana al libretto original. Eso sí, la calidad de imagen y sonido es muy buena. Pero hay mejores Forzas.

Après la magistrale version conçue par Stephano Poda dans l'édition Tutto Verdi j'étais curieux de visionner cette nouvelle réalisation.Légère déception, essentiellement dû à la banale mise en scène de Nicolas Joël :Seul le décor du 2ème acte présente un véritable intérêt. Une immense reproduction d'une mosaïque représentant le Christ Pantocrátor décore le mur du monastère où Léonora vient se réfugier.La pièce bourgeoise du 1er et les ruine du 3 sont affligeantes quand au 4ème exit le décor : une grande scène vide, où trône une prison-cage en fer, lieu de méditation de Léonora !!! ? Nous sommes loin des grottes chères aux anachorètes.Pas plus d'invention dans les costumes, et l'éclairage, qui jouent pourtant un rôle de plus en plus important dans les scénographies contemporaines..Seul intérêt, à mon sens, le jeu des chanteurs ; sobre et efficace avec un Melitone plein d'humour.LES INTREPRÉTESZubin Metha se sent investi par cette partition qu'il connait bien (Sa version avec le Wiener Staatsoper affublée d'une mise en scène très discutable).Il dirige cette fois l'orchestre et les chœurs du Mai musical florentin. Je suis de plus en plus surpris par la qualité des différentes phalanges italiennes, souvent excellentes, en tout cas dans le répertoire lyrique.Violetta Urmana campe une Léonora où sa voix pure, aux mélismes raffinés, souligne l'humanité et les souffrances du personnage.Marcello Giordano apporte au rôle de Don Alvaro toute sa ferveur et sa violence, avec toutefois pas mal de dureté dans les aigus.Parenthèse :Pénurie de bons ténors ? Nous avons, certes, le divin Kaufmann, Alagna... Villazón reviendra-t-il ? Et...et un grand désert vocal où la plupart des chanteurs s'égosillent souvent dans cette tessiture si exigeante... Affirmation sévère ? Je ne demande qu'à être contredit et recevoir des contre-exemples ...Carlo Guelfi possède une voix un peu claire pour le monolithe-vengeur de Don Carlo de VargasLa basse de Roberto Scanducci manque de profondeur et de présence dans le rôle de Padre Guardinole Melitone de Bruno De Simone brule les planches. Sa prestation et la véritable drôlerie de son personnage, laisse augurer le futur Falstaff !Le Blue ray est remarquable; bonne définition, son excellent en 5/1.En conclusion version qui, à mon avis, vient loin derrière celle de Stefano Poda !

ME GUSTA MUCHO ESTA OPERA, DESEABA CONOCER ESTA VERSION.HA SIDO RECIBIDA EN EL PLAZO SOLICITADO SATISFACTORIAMENTE

Quand on visionne un tel DVD il y a beaucoup de nostalgie à voir jouer et chanter ces quatre immenses bètes de l'opéra du siécle denier que sont. :TEBALDI , BASTIANINI , CORELLI , CHRISTOFF. Aujourd'hui un tel plateau serait quasi impossible car trop couteux meme au MET. Donc c'est fabuleux de les voir ici. Mais le temps a fait son ravage et le son est souvent déformé. Ceci étant c'est curieux de voir les jeux de scène de l'époque ou les décors quelque peu désuets. Il faut connaitre cette représentation car elle a lieu au SAN CARLO de NAP¨LES et l'orchestre est dirigé par un excellent chef d'orchestre : FRANCESCO MOLINARI PRADELLI. Regarder ...

no era para mi le gusto al destinario

Depressing poor quality staging of a beautiful opera