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La forza del destino (The Power of Fate, often translated The Force of Destiny) (Italian pronunciation: ) is an Italian opera by Giuseppe Verdi. The libretto was written by Francesco Maria Piave based on a Spanish drama, Don Álvaro o la fuerza del sino (1835), by Ángel de Saavedra, 3rd Duke of Rivas, with a scene adapted from Friedrich Schiller's Wallensteins Lager. It was first performed in the Bolshoi Kamenny Theatre of Saint Petersburg, Russia, on 22 November 1862.
La forza del destino is frequently performed, and there have been a number of complete recordings. In addition, the overture (to the revised version of the opera) is part of the standard repertoire for orchestras, often played as the opening piece at concerts.
After some further revisions, performances in Rome in 1863 (as Don Alvaro) and Madrid (with the Duke of Rivas, the play's author, in attendance) followed shortly afterwards, and the opera subsequently travelled to New York and Vienna (1865), Buenos Aires (1866) and London (1867).
Verdi made other revisions, with additions by Antonio Ghislanzoni. This version, which premiered at La Scala, Milan, on 27 February 1869, has become the "standard" performance version. The most important changes were a new overture (replacing a brief prelude); the addition of a final scene to Act 3, following the duel between Carlo and Alvaro; and a new ending, in which Alvaro remains alive, instead of throwing himself off a cliff to his death.
Industry:Drama
Four Saints in Three Acts is an opera by American composer Virgil Thomson with a libretto by Gertrude Stein. Written in 1927-8, it contains about 20 saints, and is in at least four acts. It was ground breaking for form, content, and its all-black cast, with singers directed by Eva Jessye, a prominent black choral director, and supported by her choir.
Thomson suggested the topic, and the libretto as delivered can be read in Stein's collected works. The opera features two 16th-century Spanish saints—the former mercenary Ignatius of Loyola and the mystic Teresa of Avila—as well as their colleagues, real and imagined: St. Plan, St. Settlement, St. Plot, St. Chavez, etc. Thomson decided to divide St. Teresa's role between two singers, "St. Teresa I" and "St. Teresa II", and added the master and mistress of ceremonies (Compère and Commère—literally, the "godparents") to sing Stein's stage directions.
Industry:Drama
Francesca da Rimini, Op. 25 is an opera in a prologue, two tableaux and an epilogue by Sergei Rachmaninoff to a Russian libretto by Modest Ilyich Tchaikovsky. It is based on the story of Francesca da Rimini in the fifth canto of Dante's epic poem The Inferno (the first part of The Divine Comedy). Rachmaninoff had composed the love duet for Francesca and Paolo in 1900, but did not resume work on the opera until 1904. The first performance was on 24 January (old calendar, 11 January), 1906 at the Bolshoi Theatre, Moscow, with the composer himself conducting, in a double-bill performance with another Rachmaninoff opera written contemporaneously, The Miserly Knight.
Industry:Drama
Francesca da Rimini, Op. 4, is an opera in four acts, composed by Riccardo Zandonai, with libretto by Tito Ricordi, (1865–1933), after a play by Gabriele d'Annunzio. It was premiered at the Teatro Regio in Turin on 19 February 1914, and is still staged occasionally.
This opera is Zandonai's best-known work. In the New Grove Dictionary of Opera, Renato Chiesa calls it "one of the most original and polished Italian melodramas of the 20th century, combines a powerful gift for Italian melody ... with an exceptional command of orchestration." Celebrated performers of the title role have included Gilda Dalla Rizza, Magda Olivero (who recorded excerpts from the opera in 1969, for Decca Records) and Renata Scotto. In 2013 it was performed at the Metropolitan Opera in New York with Eva-Maria Westbroek in the title role.
Industry:Drama
Der Freischütz, Op. 77, J. 277, (usually translated as The Marksman or The Freeshooter) is a German opera with spoken dialogue in three acts by Carl Maria von Weber with a libretto by Friedrich Kind. It premiered on 18 June 1821 at the Schauspielhaus Berlin. It is considered the first important German Romantic opera, especially in its national identity and stark emotionality. The plot is based on the German folk legend of the Freischütz and many of its tunes were inspired by German folk music. Its unearthly portrayal of the supernatural in the famous Wolf's Glen scene has been described as "the most expressive rendering of the gruesome that is to be found in a musical score".
The reception of Der Freischütz surpassed Weber's own hopes and it quickly became an international success, with productions in Vienna the same year followed by Leipzig, Karlsruhe, Prague, other German centres, and Copenhagen. 1824 saw productions in four London theatres in four different adaptations, as well as the French premiere at the Théâtre de l'Odéon as Robin des Bois. Among the many artists influenced by Der Freischütz was a young Richard Wagner. A version in French with recitatives was prepared by Hector Berlioz for a production at the Paris Opera in 1841. This was revived at the Paris Opéra-Comique in 2011.
The overture and the "Huntsmen's Chorus" from act 3 ("With princely enjoyment and manly employment") are often performed as concert pieces.
Industry:Drama
Freitag aus Licht (Friday from Light), the main body of which is also titled Freitag-Versuchung (Friday Temptation), is the fifth of seven operas that comprise Licht (Light), by Karlheinz Stockhausen. It was the last of the operas to receive a staged production with the composer's involvement.
Freitag was commissioned by Udo Zimmermann of the Leipzig Opera, which gave the staged premiere on September 12, 1996. Three subsequent performances were given on September 13, 14, and 15. The musical direction and sound projection was done by the composer. The staging was done by Uwe Wand. Stage, costume, object and lighting designs were from Johannes Conen. Johannes Bönig did the choreography. In addition to the soloists, the choir of the Leipzig Opera, the children's choirs of the Leipzig Opera and Middle German Radio, and the children's orchestra of the Johann Sebastian Bach music school of Leipzig performed in the original production.
The production was filmed for a documentary by WDR. A 4-disc recording of the opera is available from the Stockhausen Verlag (CD 50).
Industry:Drama
From the House of the Dead (Z mrtvého domu in Czech) is an opera by Leoš Janáček, in three acts. The libretto was translated and adapted by the composer from the novel by Dostoyevsky. It was the composer's last opera, premiered on 12 April 1930 in Brno, two years after his death.
Janáček worked on this opera knowing that it would be his last, and for it he broke away from the habit he had developed of creating characters modeled on his love interest Kamila Stösslová, although the themes of loneliness and isolation can clearly be seen as a response to her indifference to his feelings. There is only one female character, and the setting, a Siberian prison, presents a large ensemble cast instead of one or several prominent leads. There is no narrative to the work as a whole, but individual characters narrate episodes in their lives, and there is a "play-within-a-play" in Act 2.
From the House of the Dead was virtually finished when Janáček died. Two of his students, believing the orchestration was incomplete, "filled out" large portions of the score and adapted the ending to be more optimistic in tone. In addition to the work of Bretislav Bakala, Ota Zitek made changes to the text and sequence of events in the opera. Decades later, a version closer to the composer's intentions superseded that version, and it is the one most often heard today. Some productions, however, still use the earlier version's ending to lessen the bleakness of the story.
The opera requires a vast orchestra, including chains as a percussion instrument to evoke the sound of the prisoners.
Industry:Drama
Galileo Galilei is an opera based on excerpts from the life of Galileo Galilei which premiered in 2002 at Chicago's Goodman Theatre, as well as subsequent presentations at the Brooklyn Academy of Music's New Wave Music Festival and London's Barbican Theatre. Music by Philip Glass, libretto and original direction by Mary Zimmerman and Arnold Weinstein. The piece is presented in one act consisting of ten scenes without break.
Galileo Galilei is Glass' 18th opera, and draws from letters of Galileo and his family, and various other documents, to retrospectively journey through Galileo's life. Opening with him as an old, blind man after the trial and Inquisition for his heresy, it explores his religiosity as well as his break with the church, and expands into the greater, oscillating relationship of science to both religion and art. It reaches its end with Galileo — as a young boy — watching an opera composed by his father, Vincenzo Galilei, who was a member of the Florentine Camerata, an association of artists who are credited with creating the art form that came to be known as opera. Ironically, his father's opera is about the motions of the celestial bodies.
Recently, the opera has been revived with new productions in 2012 by Madison Opera and Portland Opera. The Portland Opera production is being recorded by Orange Mountain Music and will be released in late 2012 as the first commercial recording of this work.
Industry:Drama
The Gambler is an opera in four acts by Sergei Prokofiev to a Russian libretto by the composer, based on the story of the same name by Fyodor Dostoyevsky.
Prokofiev had decided on this story as an operatic subject in 1914, and the conductor Albert Coates, of the Mariinsky Theatre, encouraged Prokofiev to compose this opera and assured him of a production at that theatre. Prokofiev wrote the opera in piano score between November 1915 and April 1916, and completed the orchestration in January 1917. Vsevolod Meyerhold was engaged as stage director. However, in the wake of the 1917 February Revolution, that production never occurred.
The opera did not receive its first performance until 1929, after it had been extensively revised (in 1927), at the Théâtre Royal de la Monnaie, Brussels. Prokofiev prepared an orchestral suite based on the opera in 1931 (see below).
The Bolshoi Opera performed the opera at the Metropolitan Opera (The Met) in New York City in 1975, but the Met mounted its own first production in March 2001.
The original version of the opera was finally staged in 2001 at the Bolshoi Theatre, Moscow, conducted by Gennady Rozhdestvensky.
Industry:Drama
La gazza ladra is a melodramma or opera semiseria in two acts by Gioachino Rossini, with a libretto by Giovanni Gherardini based on La pie voleuse by Jean-Marie-Theodor Badouin d'Aubigny and Louis-Charles Caigniez.
The opera is best known for its overture, which is notable for its use of snare drums.
Rossini was famous for his writing speed, and La gazza ladra was no exception. It was reported that the producer had to lock Rossini in a room the day before the first performance to write the overture. Rossini then threw each sheet out of the window to his copyists, who wrote out the full orchestral parts.
It was first performed on 31 May 1817 at La Scala, Milan. It was revised by Rossini for subsequent productions in Pesaro in 1818, and for the Teatro del Fondo (Naples) in 1819 and the Teatro di San Carlo (Naples) in 1820. He again worked on the music in Paris in 1866.
The opera was first performed in England at the King's Theatre in London on 10 March 1820, and in the United States at the Théâtre d'Orléans in New Orleans (in French as La pie voleuse) on 30 December 1828.
Riccardo Zandonai made his own version of the opera for a revival in Pesaro in 1941. Alberto Zedda edited Rossini's original work for publication by the Fondazione Rossini in 1979. The opera was performed, in English translation, by New York City's Bronx Opera in January 2013.
Industry:Drama
