The weekend promised to be… magnificent!
With three operas across two different festivals — Aix-en-Provence to start, and the Chorégies d’Orange to wrap things up on Sunday — the program featured a Mozart opera, a Bizet opera, and one by the greatest of them all, Giuseppe Verdi. La Forza del Destino holds the same place in my heart that the sun does for the beach, or snow for winter — it’s one of my all-time favorite operas, a permanent fixture in my top 3. I love everything about this piece, from A to Z. But I had no idea that on Sunday morning, before heading to Orange, I would be experiencing it from A… to R.
Indeed, a final guest we weren’t expecting made its appearance around 60% into the performance: the rain! In the middle of July, in usually sunny Provence, the rain decided to show up and ruin the second half of my evening — ironically during one of my favorite passages in all of opera: Preziosilla’s “Guerra! Guerra!” What cruel irony, considering La Forza del Destino is known for being unlucky for performers (isn’t that right, Luciano?). Well, I guess it’s my turn to have a bittersweet story with this opera, which had started off so brilliantly…
The oldest opera festival in Europe has, for the past two years, been staging operas in concert format (two this year, including Il Trovatore), and this year I set my sights on La Forza del Destino. After being blown away by a nearly identical cast in Lyon earlier this year, I wanted to relive the experience — this time with Anna Pirozzi as Donna Leonora, Brian Jagde as Don Alvaro (replaced a few days before by Russell Thomas), and especially… the rising star baritone Ariunbaatar Ganbaatar!
And it’s with him that I want to begin this review. I imagine he must be tired of being constantly compared to his compatriot Amartuvshin Enkhbat, but to this day (outside of Rigoletto), their performances are equally remarkable in both vocal power and style. Enkhbat may still have the edge in stage acting — understandable at this early stage of Ganbaatar’s career — but what a joy to watch him. In a role that suits him perfectly, he commanded attention even on a vast open-air stage with challenging wind conditions. He exudes a grand, serene energy that is simply magnetic — such calm intensity for such a tragic role.
As for the diva of the evening, Anna Pirozzi — who now seems to travel with her fan club in tow — what more is there to say? This role is made for her. In cinema, we’d say she is the character, and we can’t imagine anyone else playing it. That was certainly true of Pirozzi in this opera. She earned an extraordinary ovation after her first aria, held long notes that seemed to defy breath itself, and soared with high notes that felt like they could go on forever. It was breathtaking.
Maria Barakova, too, seemed much freer than when I saw her in Lyon. First of all, we had the pleasure of seeing her out of the odd costume she wore there, and this time she fully owned the vast (perhaps too vast) stage of the Chorégies. And now, I’m going to let my Verdi-sensitive ear speak: she always seems to pronounce the word “Guerra” with an unusual twist — the “GUE” sounds swallowed. It’s not a dealbreaker by any means, but for someone like me who hears 15 different Forza performances a year, it definitely stands out.
Russell Thomas saved the evening by stepping in last minute. The tenor, who attempted Otello not long ago, tackled another vocally demanding role here. He did a solid job, though I did miss Brian Jagde, and I want to take this moment to wish him a speedy recovery. I can’t wait to see him in Otello this September in Madrid!
And finally… what can I say about Daniele Rustioni? The now-former music director of the Lyon Opera gave me one last dance on Sunday night in Orange, and I can only express my admiration for him. He conducts Verdi’s music with such precision, emotion, and deep love for the score. A special mention must go to the brilliant clarinet soloist of the evening — I haven’t yet found their name, but if anyone knows, please let me know, as I’d love to pay them proper tribute as well.
As I mentioned earlier in this review, the rain interrupted the performance before the final scenes could unfold — and those final scenes are among the most beautiful in the opera. Still, I’m grateful I was able to witness the first part of this remarkable performance.
CAST
CONDUCTOR Daniele Rustioni
DONNA LEONORA Anna Pirozzi
PREZIOSILLA Maria Barakova
CURRA Julie Pasturaud
DON ALVARO Russell Thomas
DON CARLO DI VARGAS Ariun Ganbaatar
IL MARCHESE DI CALATRAVA/PADRE GUARDIANO Michele Pertusi
FRA MELITONE Ambrogio Maestri
MASTRO TRABUCO Rodolphe Briand
UN ALCADE/UN CHIRURGO Louis Morvan
