The genesis of the work is closely linked to Russia and the prestige of the Imperial Theatre in Saint Petersburg. In January 1861, Verdi responded to a request from Tsar Alexander II, conveyed through the great tenor Enrico Tamberlik. Tamberlik had been a regular guest at the Mariinsky Theatre in Saint Petersburg from 1850 to 1863, where he was deeply admired by the Russian public. He was the first to sing the role of Álvaro in La forza del destino. Tamberlik played a decisive role in actively working to convince Verdi to come to Russia. It was thanks to him that Giuseppina Strepponi managed to persuade the initially hesitant composer not only to write the opera, but also to undertake the journey to Saint Petersburg.
In December 1861, Verdi traveled to Saint Petersburg for the first rehearsals. However, the illness of the soprano Emma La Grua, slated to create the role of Leonora, and the impossibility of finding a singer capable of taking over the role to the composer's exacting standards, led Verdi to consider breaking the contract, which stipulated that his works must be sung by artists of his choosing. Finally, an agreement was reached to postpone the premiere until the following season.
After six weeks of intensive rehearsals, during which Verdi completed the orchestration of the opera, La forza del destino was finally premiered in Saint Petersburg on October 29, 1862. The role of Don Alvaro was sung by Enrico Tamberlik, and that of Leonora by Emma La Grua. The premiere was a resounding triumph, which lasted for several weeks, confirming the immense success of the work and the enthusiasm of the Russian public.
This premiere thus stands as one of the major moments in the history of 19th-century opera, the result of an exceptional encounter between a brilliant Italian composer and the Russian imperial musical world.
The theatre began construction in 1775 and was inaugurated on 24 September 1783. At that time, the theatre was not as large as it would later become; this first version had two tiers of boxes. The façade, which is still preserved in 2026, has survived all these years. The interior auditorium was dismantled at the end of the nineteenth century, but the façade was maintained, and today we can still enjoy this majestic façade rising before the magnificent promenade along the river, a promenade that is beautiful both by day and by night.
The theatre was very spacious and could accommodate 2,000 people. The interior of the theatre was later demolished and rebuilt with the addition of a royal box. In 1802, Emperor Alexander I wished to redecorate it in a different style and summoned the French architect Thomas de Thomon. In just eight months the work was completed, and the architect received the title of Court Architect. He added an impressive Neoclassical façade, which is the one that can still be admired today, and he incorporated the royal box on the first floor.
The theatre, and especially its interior hall, was sumptuous, magnificent—truly the most beautiful in the world. Both outside and inside, the theatre was a jewel. It was said that not even the Paris Opera could compare, and that it was the most impressive theatre in the world.
However, in 1811, the theatre burned down in a fire that lasted two days. In 1813, the French architect died in the theatre after falling from a wall while carrying out an inspection visit for the reconstruction. The work continued, and finally, on 3 February 1818, the theatre was reinaugurated. The façade was preserved, just as it is today. The theatre was as impressive as the previous one, only larger, with greater capacity, more luxury, and far more lavish decoration, making it an exceptionally beautiful theatre.
The theatre did not burn again, but it was closed in 1890 because the interior structure was made of wood and posed a serious risk. Engineers declared it dangerous and recommended closure due to the fire hazard. It was therefore closed and dismantled, although the façade and the entrance hall were preserved. Today, a conservatory occupies what was once the theatre.
The artistic history of the theatre is of great importance. It was the venue for the world premieres of many works that are still performed all over the world today, such as the operas Ivan Susanin (A Life for the Tsar) and Ruslan and Lyudmila by Glinka. In this theatre, the voices of Rubini, Grisi, Adelina Patti, and Pauline Viardot-García were heard. Dancers such as Marie Taglioni and Fanny Elssler performed on its stage, and Marius Petipa and Arthur Saint-Léon also worked there.
Verdi’s most famous work, La forza del destino, went down in history for having been premiered there, with the presence of Verdi himself, who travelled to Russia with his wife. At that time, the theatre was called The Saint Petersburg Imperial Theatre, and they did not want just any opera—they wanted one by Verdi, and they wanted him to come in person to conduct it. Russia achieved what it set out to do, and although Verdi initially did not want to write the work, much less travel to Russia in winter, the Russians ultimately succeeded, and the Italian composer, who was not fond of travel, made the journey. The night of the premiere was a great success.
Verdi wrote to his editor in Milan, and the letter reads as follows:
Pietroburgo, 29 Oct 1862
Caro Tito
Ricevo la tua dal B.[argier] –– Levate le parole anzi la strofa del libretto "Del guardo suo d'amor"
Ieri sera prima recita della Forza del Destino. Esito buono, Esecuzione buonissima. Decorazioni e Vestiario ricchissimi.
Di fretta addio
G. Verdi
Verdi was very satisfied with the premiere of the opera on 29 October 1862. Curiously, on that very same day, another genius also travelled to another city to premiere a commissioned work: Mozart travelled to Prague to premiere Don Giovanni, which was also first performed on 29 October, in 1787. Coincidences in the history of music—two geniuses and one date, the 29th of October.
La forza del destino est un opéra en quatre actes de Giuseppe Verdi, sur un livret de Francesco Maria Piave, inspiré de la pièce de théâtre Don Álvaro o la fuerza del sino du Duc de Rivas, Ángel de Saavedra.
La genèse de l’œuvre est intimement liée à la Russie et au prestige du théâtre impérial de Saint-Pétersbourg. En janvier 1861, Verdi répond à une demande du tsar Alexandre II, transmise par l’intermédiaire du grand ténor Enrico Tamberlik. Celui-ci fut un hôte régulier du Théâtre Mariinsky de Saint-Pétersbourg de 1850 à 1863, où il était profondément admiré par le public russe. C’est lui qui fut le premier interprète du rôle d’Alvaro dans La forza del destino. Tamberlik joua un rôle décisif en œuvrant activement pour convaincre Verdi de venir en Russie. C’est grâce à lui que Giuseppina Strepponi parvint à persuader le compositeur, d’abord hésitant, non seulement d’écrire l’opéra, mais aussi d’entreprendre le voyage jusqu’à Saint-Pétersbourg.
Après avoir d’abord envisagé un projet autour de Ruy Blas, Verdi accepte, le 3 juin 1861, le drame de Rivas que lui propose le théâtre impérial. Le livret est confié à Francesco Maria Piave, et la composition de la partition s’étend de juin à novembre 1861.
En décembre 1861, Verdi se rend à Saint-Pétersbourg pour les premières répétitions. Toutefois, la maladie de la soprano Emma La Grua, prévue pour créer le rôle de Leonora, et l’impossibilité de trouver une cantatrice capable de reprendre le rôle à la hauteur des exigences du compositeur, conduisent Verdi à envisager la rupture du contrat, lequel stipulait que ses œuvres devaient être chantées par des artistes choisis par lui. Finalement, un accord est trouvé pour reporter la création à la saison suivante.
Après six semaines de répétitions intensives, durant lesquelles Verdi achève l’orchestration de l’opéra, La forza del destino est finalement créée à Saint-Pétersbourg le 29 Octobre 1862. Le rôle de Don Alvaro est interprété par Enrico Tamberlik, et celui de Leonora par Emma La Grua. La première connaît un triomphe éclatant, qui se prolonge pendant plusieurs semaines, confirmant l’immense succès de l’œuvre et l’enthousiasme du public russe.
Cette création s’inscrit ainsi comme l’un des moments majeurs de l’histoire lyrique du XIXᵉ siècle, fruit d’une rencontre exceptionnelle entre un compositeur italien de génie et le monde musical impérial russe.
«Сила судьбы» — это опера в четырех действиях Джузеппе Верди, на ливре Франческо Марии Пьяве, вдохновение театральной пьесы Дона Альваро или китайской войны герцога де Риваса, Анхеля де Сааведра.
«Зарождение творчества» — это время, проведённое в России и престижном императорском театре Санкт-Петербурга. В январе 1861 года Верди ответил на требование царя Александра II, передав его посреднику великого тенора Энрико Тамберлика. Celui-ci fut un hôte Regulier du Theâtre Mariinsky of Saint-Petersbourg в 1850–1863 годах, или это глубокое восхищение русской публикой. C’est lui qui fut le Premier Interprète du Role d’Alvaro dans La Forza del Destino. Тамберлик играет решающую роль в активной деятельности по убеждению Верди в продвижении в России. C’est grâce à lui que Джузеппина Стреппони, которая убедила композитора, d’abord колеблющегося, но не seulement d’écrire l’opera, mais aussi d’entreprendre le voyage jusqu’a Saint-Pétersbourg.
После отмены проекта Верди принял авторский проект Рюи Бласа, 3 июня 1861 года, драму Риваса, которую он предложил имперскому театру. Le livret - это доверие Франческо Марии Пьяве, а композиция перегородки была написана в ноябре 1861 года.
В декабре 1861 года Верди отправился в Санкт-Петербург для повторений премьер. Тем не менее, болезнь сопрано Эммы Ла Груа, предшествовавшая созданию роли Леоноры, и невозможность найти певицу, способную воспроизвести роль в духе высоких требований композитора, помогла Верди предвидеть разрыв контракта, lequel stipulait que ses œuvres devaient être chantées по выбору артистов. Финал, это труд для репортера о создании нового сезона.
После шести сеансов интенсивных повторов, во время лекций Верди достиг оркестровки оперы, «Сила судьбы» стала финалом в Санкт-Петербурге 10 ноября 1862 года. Роль дона Альваро интерпретируется Энрико Тамберликом и небесной Леонорой. Эмма Ла Груа. La première connaît un triomphe éclatant, которая продлевает подвеску plusieurs semaines, подтверждая огромный успех творчества и энтузиазм русской публики.
Это творение написано как величайшие моменты лирической истории XIX века, плоды исключительной встречи между итальянским композитором и имперским русским музыкальным миром.
La fuerza del destino es una ópera en cuatro actos de Giuseppe Verdi, con libreto de Francesco Maria Piave, inspirada en la obra "Don Álvaro o la fuerza del sino" del duque de Rivas, Ángel de Saavedra.
La génesis de la obra está estrechamente ligada a Rusia y al prestigio del Teatro Imperial de San Petersburgo. En enero de 1861, Verdi respondió a una petición del zar Alejandro II, transmitida a través del gran tenor Enrico Tamberlik. Tamberlik había sido un invitado habitual del Teatro Mariinsky de San Petersburgo entre 1850 y 1863, donde fue profundamente admirado por el público ruso. Fue el primero en interpretar el papel de Álvaro en La fuerza del destino. Tamberlik jugó un papel decisivo en la labor de convencer a Verdi de venir a Rusia. Gracias a él, Giuseppina Strepponi logró persuadir al compositor, inicialmente reticente, no solo para que escribiera la ópera, sino también para que emprendiera el viaje a San Petersburgo.
Tras considerar inicialmente un proyecto basado en Ruy Blas, Verdi aceptó, el 3 de junio de 1861, el drama de Rivas que le ofreció el Teatro Imperial. El libreto fue confiado a Francesco Maria Piave, y la composición de la partitura se prolongó de junio a noviembre de 1861.
En diciembre de 1861, Verdi viajó a San Petersburgo para los primeros ensayos. Sin embargo, la enfermedad de la soprano Emma La Grua, designada para interpretar el papel de Leonora, y la imposibilidad de encontrar una cantante capaz de interpretar el papel según las exigencias del compositor, llevaron a Verdi a considerar la rescisión del contrato, que estipulaba que sus obras debían ser interpretadas por artistas de su elección. Finalmente, se llegó a un acuerdo para posponer el estreno hasta la temporada siguiente.
Tras seis semanas de intensos ensayos, durante las cuales Verdi completó la orquestación de la ópera, La fuerza del destino se estrenó finalmente en San Petersburgo el 29 de Octubre de 1862. El papel de Don Álvaro fue interpretado por Enrico Tamberlik y el de Leonora por Emma La Grua. El estreno fue un rotundo triunfo, que se prolongó durante varias semanas, confirmando el inmenso éxito de la obra y el entusiasmo del público ruso.
Este estreno se erige, pues, como uno de los momentos más importantes de la historia de la ópera del siglo XIX, fruto de un encuentro excepcional entre un brillante compositor italiano y el mundo musical imperial ruso.
