Joan Sutherland & Richard Bonynge

Royal Opera House - Richard Bonynge & Joan Sutherland 

Richard Bonynge and the Miracle of the Romantic Ballet Recorded

In the history of recorded music, there are great conductors, there are legendary conductors, and then there are those rare individuals whose work permanently alters what future generations are able to hear, know, and understand. Richard Bonynge belongs decisively to this last category. His contribution to music—both opera and ballet—is not merely distinguished by excellence, but by uniqueness. Quite simply, without Richard Bonynge, vast areas of nineteenth-century music would remain silent, forgotten, or forever imagined rather than heard.

Bonynge is often introduced through his long and extraordinary partnership with his wife, the incomparable soprano Joan Sutherland. That partnership alone would secure his place in musical history. Yet to reduce his legacy to accompaniment or collaboration would be to misunderstand the true nature of his artistry. Richard Bonynge was, above all, a conductor of vision: a musician with a profound understanding of style, a tireless scholar, and a passionate believer in the intrinsic value of music that others had dismissed as obsolete or unfashionable.

The Revival of a Lost World: Ballet Music

Bonynge’s achievement in ballet music is nothing short of miraculous. Over many decades, he devoted himself to uncovering nineteenth-century ballet scores that had vanished from the repertoire—works that had once filled theatres in Paris, Vienna, London, and St. Petersburg, yet had completely disappeared from modern performance. He searched obsessively through second-hand music shops, archives, and libraries in cities across Europe, often finding scores that had not been opened for generations.

What makes this effort so extraordinary is that Bonynge did not treat these discoveries as mere curiosities. He understood them as living music. He studied them, restored them, prepared them for performance, and recorded them with the same seriousness and artistic commitment he brought to the greatest masterpieces. Through Decca, he created a recorded legacy that no other conductor has matched: a vast, coherent, lovingly curated anthology of Romantic ballet music.

The 45-CD box set Richard Bonynge – The Complete Ballet Recordings stands as a monument to this work. Alongside universally known masterpieces such as Swan Lake, The Sleeping Beauty, The Nutcracker, and La Bayadère, the collection reveals an astonishing treasury of forgotten ballets by Adam, Delibes, Minkus, Drigo, Auber, Massenet, Berlioz, Meyerbeer, Lecocq, Pugni, and many others. These were not marginal figures: they were central to the musical life of the nineteenth century, particularly in Paris, where ballet occupied a position of immense cultural importance.

Bonynge understood instinctively how ballet music must breathe, dance, and sparkle. His tempi feel inevitable, his phrasing elastic and elegant, his orchestral textures luminous. This is not museum music. It is theatre, movement, color, and joy. Few moments in the box set are as overwhelming as the extended Grand Pas from Minkus’s Paquita—over twenty minutes of music that Bonynge shapes with such vitality and brilliance that it feels utterly unsurpassable. For many listeners, myself included, listening to these recordings for hours on end can feel like being transported somewhere between heaven and earth.

Opera and the Art of Bel Canto

Yet Bonynge’s contribution to opera is equally historic. Together with Joan Sutherland, he changed forever the way bel canto opera is heard, understood, and valued. At a time when many of these operas were neglected, cut, or misunderstood, Bonynge insisted on stylistic integrity, musical completeness, and orchestral refinement. He did not treat bel canto as vocal display supported by an orchestra, but as a fully integrated musical drama.

It is impossible to imagine Joan Sutherland’s discography without Richard Bonynge’s guidance, encouragement, and determination. Time and again, he persuaded her—and recording companies—to commit to studio recordings that no one expected, and in some cases, no one dared to imagine.

A particularly moving example is Anna Bolena by Donizetti, recorded in 1985, when Sutherland was already nearing the end of her active stage career. Few believed she would ever record the role in the studio. Yet she did—and the result remains, for many listeners, the definitive studio recording of the opera. Nearly forty years later, it stands not as a late-career curiosity, but as a towering artistic statement, preserved thanks to Bonynge’s insistence and vision.

The same can be said of recordings such as L’elisir d’amore with Luciano Pavarotti, or Turandot—an opera no one expected Sutherland ever to record. And yet she did, delivering a performance of astonishing authority, vocal security, and grandeur. Her Turandot remains one of the most compelling on disc, and it is a role many listeners, myself included, return to repeatedly with undiminished admiration.

Then there are her unforgettable portrayals of Elvira in I Puritani, Amina in La Sonnambula, Violetta in La Traviata, and above all Norma, Bellini’s supreme creation. In all of these recordings, Bonynge’s conducting is not merely supportive; it is revelatory. He understands the architecture of the music, the dramatic pacing, the expressive weight of orchestral color. He allows the voice to soar, but never at the expense of musical coherence or stylistic truth.

A Personal and Collective Debt

Richard Bonynge did more for the worlds of opera and ballet than almost any conductor of his generation. He expanded the repertoire, preserved endangered works, and gave them performances of lasting beauty. He trusted audiences to listen, to discover, and to fall in love with music they had never heard before.

I had the great fortune of meeting Richard Bonynge in 2001 and of thanking him personally for his extraordinary work. It is a moment I will always treasure. Yet any personal gratitude pales beside the collective debt owed to him by millions of listeners around the world. Thanks to him, we can hear what would otherwise be lost. Thanks to him, an entire musical century continues to sing, dance, and enchant.

Richard Bonynge achieved something no other conductor has achieved: he rescued forgotten beauty and gave it permanence. For lovers of nineteenth-century music—whether opera or ballet—his recordings are not merely important. They are indispensable.

For that, we will never be grateful enough.

Few achievements in the history of recorded music can truly be described as unique. Fewer still can be called irreplaceable. Richard Bonynge – The Complete Ballet Recordings, released by Decca as a monumental 45-CD box set, belongs unquestionably to that rare category: a once-in-a-lifetime artistic achievement that no other conductor has equaled, and perhaps none ever will.

Richard Bonynge is widely celebrated for his legendary partnership with his wife, the great soprano Joan Sutherland, and for his authoritative interpretations of bel canto opera. Yet to focus solely on opera would be to overlook one of his most extraordinary and enduring contributions to musical culture: the resurrection, study, performance, and recording of nineteenth-century ballet music—much of it forgotten, neglected, or assumed to be lost forever.

Bonynge himself explained in interviews how, over many years, he devoted countless hours to searching through antiquarian music shops and libraries across Europe, patiently uncovering original ballet scores from the nineteenth century. These were works that had once enjoyed enormous success in Paris, London, Vienna, and St. Petersburg, yet had vanished completely from the repertoire. Some had never been recorded; others had not even been performed for generations. In many cases, few musicians alive were even aware that these ballets had ever existed.

Bonynge did far more than simply “find” these scores. He studied them meticulously, reconstructed performance traditions, prepared the orchestral materials, and brought them back to life in the recording studio with a level of care, stylistic understanding, and affection that only a true devotee could provide. Conducting magnificent orchestras under the Decca label, he transformed fragile, dusty manuscripts into living, breathing music—rich in color, rhythm, elegance, and theatrical vitality.

This collection does not limit itself to the universally known masterpieces such as Swan Lake, The Sleeping Beauty, The Nutcracker, or La Bayadère. Alongside these pillars of the repertoire, the box set opens a door to a dazzling lost world: ballets by Adam, Delibes, Drigo, Minkus, Massenet, Auber, Berlioz, Meyerbeer, Lecocq, Pugni, and many others. French, Russian, Italian, Austrian, German, Danish—Bonynge’s range is astonishing, and his stylistic instinct unfailingly sure.

What makes these recordings truly exceptional is not merely their rarity, but their quality. Bonynge understood ballet music from the inside: its pulse, its breathing, its dramatic arc, and its intimate connection to movement. Tempi are natural, phrasing is elastic, rhythms dance, and the orchestral colors glow. This is ballet music conducted by someone who loved it deeply and knew exactly how it should sound.

The Decca engineering, as always, is superb. Even recordings originating from analogue tapes of the 1960s and 1970s are transferred with remarkable clarity, warmth, and balance. The presentation of the box set is equally admirable: 45 CDs housed in elegant cardboard sleeves, many reproducing the original LP artwork, accompanied by detailed documentation that reflects the care and seriousness of the project.

On a personal level, these recordings offer moments of almost indescribable joy. One need only listen to the extended Grand Pas from Minkus’s Paquita—over twenty minutes of sheer brilliance—to understand the magic Bonynge achieved. The orchestration sparkles, the melodic invention seems inexhaustible, and the performance reaches a level that feels not merely excellent, but definitive. For many listeners, myself included, this music can induce a sense of pure happiness: hours spent listening feel like being in heaven, here on earth.

I had the great fortune of meeting Richard Bonynge in 2001, and of thanking him personally for his extraordinary work in both opera and ballet. That moment remains unforgettable. What he gave us through these recordings is not just pleasure, but cultural memory—an entire musical universe rescued from oblivion.

This box set is more than a collection of CDs. It is a historical document, an act of love, and a gift to future generations. For lovers of nineteenth-century music, ballet enthusiasts, and anyone who believes that beauty is worth preserving, Richard Bonynge – The Complete Ballet Recordings is not merely recommended—it is essential.

Richard Bonynge achieved what no other conductor has achieved: he made the invisible audible, the forgotten unforgettable, and the lost eternal. For that, neither I nor the millions of admirers around the world who treasure these recordings will ever be sufficiently grateful.

Adam, Adolphe

• Le Diable à quatre

• Giselle

  • Danse des vignerons

  • Pas seul

  • Peasant pas de deux

  • Grand Pas de Deux (Act II)

• Le Corsaire

• Giralda – Overture

• La Poupée de Nuremberg – Overture

Auber, Daniel-François-Esprit

• Marco Spada – Ballet (complete)

• Marco Spada – Overture

• Gustave III (Le Bal masqué) – Overture

• Gustave III (Le Bal masqué) – Ballet Music

• Cello Concerto No. 1 in A minor

• Lestocq – Overture

• La Neige – Overture

Asafyev, Boris

• Papillons

Berlioz, Hector

• Les Troyens – Ballet music

Bizet, Georges

• Don Procopio – Entr’acte

Boieldieu, François-Adrien

• Le Calife de Bagdad – Overture

• La Dame blanche – Overture

Britten, Benjamin

• Soirées musicales (after Rossini), Op. 9

• Matinées musicales (after Rossini), Op. 24

Burgmüller, Friedrich

• La Péri – Romantic ballet in two acts

Catalani, Alfredo

• Loreley – Danza delle ondine

Chopin, Frédéric

• Les Sylphides

Czibulka, Alphons

• Love’s Dream After the Ball, Op. 356

Delibes, Léo

• Coppélia

• Sylvia

• La Source

• Naïla – Intermezzo

• Le Roi l’a dit – Entr’acte

Donizetti, Gaetano

• La Favorita – Ballet music

• Ballabile (from La Favorite)

• Roberto Devereux – Overture

Drigo, Riccardo

• La Flûte magique

• Pas de Trois

• Le Réveil de Flore – excerpts

• Esmeralda – Pas de deux

• Le Corsaire – Pas de deux

Gounod, Charles

• Faust – Ballet music

• La Reine de Saba – Waltz

• Le Tribut de Zamora – Danse grecque

Handel, Georg Friedrich

• Alcina – Ballet music

Hérold, Ferdinand

• Zampa – Overture

Kreisler, Fritz

• Schön Rosmarin

Kurpiński, Karol

• Polish Wedding – Mazurka

Leoni, Francesco

• The Prayer and the Sword

Lecocq, Charles

• La Fille de Madame Angot – Ballet music

• La Fille de Madame Angot – Overture

Lincke, Paul

• Glow Worm Idyll (Lysistrata)

Lovenskjold, Herman

• La Sylphide – Pas de deux

Luigini, Alexandre

• Ballet égyptien

Maillart, Louis-Aimé

• Les Dragons de Villars – Overture

Massenet, Jules

• Manon – Ballet

• Le Carillon

• Scènes alsaciennes

• Fantaisie for Cello and Orchestra

• Cigale

• Valse très lente

• Le Cid – Ballet music

• Le Cid – Suite

• Méditation (from Thaïs)

• La Navarraise – Nocturne

• Chérubin – Entr’acte

• Don César de Bazan – Sévillana

• Le Roi de Lahore – Waltz and Entr’acte

• Les Érinnyes – Invocation

Meyerbeer, Giacomo

• Les Patineurs – Ballet

• Les Patineurs – Suite

• Le Prophète – Coronation March

Minkus, Ludwig

• La Bayadère

• Don Quixote – Pas de deux

• Paquita – Pas de deux

Offenbach, Jacques

• Le Papillon

• La Fille du tambour-major – Overture

Planquette, Robert

• Les Cloches de Corneville – Overture

Popper, David

• Cello Concerto No. 2 in E minor, Op. 24

Pugni, Cesare

• Pas de quatre

Rossini, Gioachino

• La Boutique fantasque

• Guillaume Tell – Ballet music

• Torvaldo e Dorliska – Overture

Rubinstein, Anton

• Danses des fiancées de Cachemir (from Feramors)

Saint-Saëns, Camille

• Le Cygne (Carnaval des animaux)

• Henry VIII – Danse de la Gipsy

Strauss II, Johann

• Aschenbrödel-Walzer

• Ritter Pásmán – Ballet music

• An der schönen blauen Donau, Op. 314

• Die Fledermaus – Ballet music (Act II)

• Die Fledermaus – Overture

Tchaikovsky, Pyotr Ilyich

• The Nutcracker, Op. 71

• Swan Lake, Op. 20

• Sleeping Beauty, Op. 66

• Swan Lake – Pas de deux

• The Nutcracker – Pas de deux

• Aurora Variation (Sleeping Beauty)

• The Seasons, Op. 37b: December

• Souvenir d’un lieu cher, Op. 42

Thomas, Ambroise

• Hamlet – Ballet music

• Hamlet – Act IV Ballet Music

• Mignon – Overture

Verdi, Giuseppe

• Il Trovatore – Ballet Music (Acts II & III)

• Giovanna d’Arco – Overture

Wallace, William Vincent

• Maritana – Overture

Weber, Carl Maria von

• Invitation to the Dance, Op. 65

Anon.

• Bolero (1830)

Saint Petersburg - La forza del destino - Verdi - 2nd February 2026

On Monday, February 2nd, 2026, an extraordinary performance of La forza del destino by Giuseppe Verdi will take place — an event of rare significance for opera lovers. The date itself carries a striking historical resonance: it was also a Monday, on October 29th, 1862, when this monumental opera received its world premiere in this very city, Saint Petersburg, with Verdi himself present in the theatre. That evening was nothing short of historic — a true cultural milestone — and the opera was met with overwhelming acclaim. Verdi offered a version of exceptional musical richness, one that left a deep and lasting impression on audiences and musicians alike.

Over the years, La forza del destino underwent a substantial revision, resulting in a second version that is now the one most frequently performed worldwide. This later version introduced significant changes: a completely different ending, alterations to several duets, and a newly composed prelude. Dramatically, this revised version is often considered less tragic and more theatrical. Yet, from a purely musical standpoint, many listeners — myself included — feel that the original Saint Petersburg version possesses a greater sonic power and a more direct, visceral impact. Above all, its finale stands out as truly magnificent: inspired, bold, and overwhelmingly beautiful — a conclusion of such stature that it can only be described as unmistakably master piece. Verdi himself always preferred his first version, as I have read in his own letters, but he was "invited" to change the ending.

What makes the upcoming performance so exceptional is that this original version, the Russian version, will be heard live at the Mariinsky Theatre on February 2nd. Opportunities to experience this version in the theatre are exceedingly rare, as most opera houses choose to present only the later revision. For lovers of Verdi, for devoted opera enthusiasts, and especially for those with a deep interest in historical performance practice, this is an occasion of immense value — a chance to hear La forza del destino as it was first conceived and unveiled to the world. Since Verdi had created the original version without any changes, which does not detract from the second version, but has Verdi's creative power at its maximum splendor, the Mariinsky orchestra is the world's leading specialist in this opera, so Verdi would be delighted to attend this performance as I am. 

This opera in Saint Petersburg, interpreted by Russian voices, for it was precisely these voices that Verdi had in mind when he composed the work. The choral writing, powerful and monumental, finds a natural home here; the Russian chorus tradition brings an unmatched depth, weight, and grandeur to the score. The result promises to be an experience of overwhelming intensity and beauty.

For me, this performance represents a deep personal satisfaction — one that I am certain will be shared by any true opera lover. I cannot help but imagine that Verdi himself would take immense joy in seeing his music brought to life by such extraordinary musicians and choristers, breathing vitality and passion into every phrase. There is a sense of artistic continuity here, a bridge between past and present, where history feels vividly alive.

It is also worth remembering that Russian composers who attended the original premiere listened with great attention. The impact of La forza del destino was immediate and profound, and its influence can be traced in many later Russian operatic works, where echoes of Verdi’s dramatic architecture and musical language unmistakably appear.

For anyone who happens to be in Saint Petersburg, this is truly an unmissable opportunity: to witness one of Verdi’s greatest operas, in its original form, in the very city where it was born, performed by artists whose tradition and sound are inseparable from the work’s origins. More than a performance, it is a celebration of operatic history — a rare, powerful, and unforgettable encounter with Verdi’s genius at its most elemental and majestic.

В понедельник, 2 февраля 2026 года, состоится необыкновенное исполнение оперы Джузеппе Верди «Сила судьбы» — поистине редкое и значимое событие для любителей оперы. Сама дата имеет замечательное историческое значение: именно в понедельник, 29 октября 1862 года, состоялась премьера этой оперы в том же городе, Санкт-Петербурге, в присутствии самого Верди в театре. Эта премьера была поистине знаменательной. Она была встречена с огромным энтузиазмом, и версия, представленная композитором в тот вечер, оказалась оглушительным успехом, излучая музыкальную мощь, которая оставила неизгладимое впечатление.

С годами Верди переработал «Силу судьбы» и создал вторую, переработанную версию, внеся существенные изменения: совершенно другой финал, изменения в нескольких дуэтах и ​​новую прелюдию. Эта более поздняя версия, которая сегодня исполняется чаще, несомненно, более драматична и театральна. Тем не менее, с чисто музыкальной точки зрения, оригинальная петербургская версия обладает силой и богатством, которые многие слушатели считают непревзойденными. Особенно великолепен её финал — смелый, вдохновенный и невероятно выразительный, заключение поразительной красоты и глубины, полностью достойное Верди в его самые смелые и изобретательные моменты.

Именно эта оригинальная версия, русская премьера «Силы судьбы», будет исполнена в Мариинском театре 2 февраля. Такая возможность крайне редка. Для любителей оперы, преданных поклонников Верди и особенно для тех, кто жаждет услышать первую версию вживую, это представление представляет собой нечто поистине исключительное. Во многих оперных театрах мира предлагается только более поздняя редакция; услышать оригинальную версию в городе, где она родилась, — это привилегия высочайшего уровня.

Также есть глубокая художественная и историческая значимость в том, чтобы услышать эту оперу в исполнении русских голосов, ведь именно эти голоса Верди имел в виду, когда сочинял это произведение. Хоровая партия, один из самых ярких элементов оперы, достигает в этой традиции необычайных высот — мощная, мрачная и эмоционально ошеломляющая. Воздействие такого хора огромно, и его звучание привносит в партитуру уникальную подлинность и значимость.

Для меня это исполнение обещает глубокое личное удовлетворение — то, которое, несомненно, разделит любой истинный любитель оперы. Я не могу не представить, как сам Верди испытал бы огромную радость, наблюдая, как его музыка оживает благодаря таким великолепным музыкантам и хористам, вдыхая страсть и интенсивность в каждую фразу. Это почти как разговор сквозь время, между композитором и исполнителями, объединенными непреходящей жизненной силой его музыкального видения.

Стоит помнить, что русские композиторы, присутствовавшие на премьере, слушали с большим вниманием и любопытством. Влияние «Силы судьбы» прослеживается во многих русских операх, написанных в последующие годы — свидетельство глубокого воздействия произведения и плодотворного художественного обмена, который оно вдохновило.

Если вы окажетесь в Санкт-Петербурге, не упустите эту возможность. Услышать «Силу судьбы» в оригинальной версии, в самом городе её премьеры, в исполнении артистов, глубоко приверженных традициям, для которых она была создана, — это опыт редкой красоты и исторической значимости. Это не только дань уважения гению Верди, но и живой силе самой оперы — силе судьбы, которая продолжает отзываться, трогать и удивлять спустя более века.

El dilluns 2 de febrer de 2026 tindrà lloc una representació extraordinària de La forza del destino de Giuseppe Verdi, un esdeveniment realment rar i significatiu per als amants de l'òpera. La data en si mateixa té una ressonància històrica notable: també va ser un dilluns 29 d'octubre de 1862 quan es va estrenar aquesta mateixa òpera a la mateixa ciutat, Sant Petersburg, amb el mateix Verdi present al teatre. Aquella estrena va ser simplement transcendental. Va ser rebuda amb gran entusiasme, i la versió que va oferir el compositor aquella nit va resultar ser un èxit rotund, irradiant una potència musical que va deixar una impressió duradora.

Al llarg dels anys, Verdi va revisitar La forza del destino i va produir una segona versió revisada, introduint canvis substancials: un final completament diferent, alteracions a diversos duets i un nou preludi. Aquesta versió posterior, representada amb més freqüència avui dia, és innegablement més obertament dramàtica i teatral. Tanmateix, des d'una perspectiva purament musical, la versió original de Sant Petersburg posseeix una força i una riquesa que molts oients troben incomparables. El seu final, en particular, és magnífic: audaç, inspirat i aclaparadorament expressiu, una conclusió d'una bellesa i profunditat sorprenents, plenament digna d'un Verdi en el seu estat més atrevit i imaginatiu.

És precisament aquesta versió original, la versió russa de l'estrena de La forza del destino, que es representarà al Teatre Mariinsky el 2 de febrer. Una oportunitat així és extremadament rara. Per als entusiastes de l'òpera, els admiradors devots de Verdi i, especialment, per a aquells que desitgen experimentar la primera versió en directe, aquesta representació representa quelcom realment excepcional. En molts teatres d'òpera d'arreu del món, només s'ofereix la revisió posterior; escoltar la versió original a la ciutat on va néixer és un privilegi del més alt ordre.

També hi ha una profunda idoneïtat artística i històrica en escoltar aquesta òpera interpretada per veus russes, ja que aquestes eren precisament les veus que Verdi tenia en ment en compondre l'obra. L'escriptura coral, un dels elements més sorprenents de l'òpera, arriba a altures extraordinàries en aquesta tradició: potent, de tons foscos i emocionalment aclaparadora. L'impacte d'aquestes forces corals és immens, i el seu so aporta una autenticitat i una gravetat úniques a la partitura.

Per a mi, aquesta actuació promet una profunda satisfacció personal, que qualsevol veritable amant de l'òpera sens dubte compartirà. No puc evitar imaginar que el mateix Verdi hauria gaudit immensament en veure com la seva música cobrava vida a través de músics i coristes tan magnífics, insuflant passió i intensitat a cada frase. Se sent gairebé com una conversa a través del temps, entre compositor i intèrprets, units per la vitalitat perdurable de la seva visió musical.

Val la pena recordar que els compositors russos que van assistir a l'estrena original van escoltar amb gran atenció i curiositat. La influència de La forza del destino es pot rastrejar en moltes òperes russes escrites en els anys següents, un testimoni del profund impacte de l'obra i del fèrtil intercanvi artístic que va inspirar.

Si us trobeu a Sant Petersburg, aquesta és una oportunitat que no us podeu perdre. Escoltar La forza del destino en la seva versió original, a la mateixa ciutat de la seva estrena, interpretada per artistes impregnats de la tradició per a la qual va ser concebuda, és una experiència de rara bellesa i significació històrica. És una celebració no només del geni de Verdi, sinó també del poder viu de l'òpera mateixa: una força del destí que continua ressonant, commovent i sorprenent, més d'un segle després.

Le lundi 2 février 2026 aura lieu une représentation exceptionnelle de La forza del destino de Giuseppe Verdi – un événement rare et marquant pour les mélomanes. Cette date revêt une remarquable résonance historique : c’était également un lundi, le 29 octobre 1862, que cet opéra était créé dans la même ville, Saint-Pétersbourg, en présence de Verdi lui-même. Cette première fut un moment historique. Accueillie avec un immense enthousiasme, la version proposée par le compositeur ce soir-là connut un succès retentissant, rayonnant d’une puissance musicale qui laissa une empreinte indélébile.

Au fil des années, Verdi retravailla La forza del destino et en créa une seconde version, remaniée, y apportant des modifications substantielles : une fin totalement différente, des altérations à plusieurs duos et un nouveau prélude. Cette version plus récente, plus fréquemment jouée aujourd’hui, est indéniablement plus dramatique et théâtrale. Pourtant, d’un point de vue purement musical, la version originale de Saint-Pétersbourg possède une force et une richesse que de nombreux auditeurs jugent inégalées. Sa fin, en particulier, est magnifique : audacieuse, inspirée et d'une expressivité bouleversante, une conclusion d'une beauté et d'une profondeur étonnantes, digne de Verdi dans ses œuvres les plus novatrices et les plus audacieuses.

C'est précisément cette version originale, la première russe de La forza del destino, qui sera présentée au Théâtre Mariinsky le 2 février. Une telle occasion est extrêmement rare. Pour les mélomanes, les fervents admirateurs de Verdi, et surtout pour ceux qui souhaitent découvrir la première version en direct, cette représentation est un événement exceptionnel. Dans de nombreux opéras à travers le monde, seule la version révisée est proposée ; entendre la version originale dans la ville qui l'a vue naître est un privilège inestimable.

Il y a également une profonde pertinence artistique et historique à entendre cet opéra interprété par des voix russes, car ce sont précisément ces voix que Verdi avait à l'esprit lorsqu'il a composé l'œuvre. L'écriture chorale, l'un des éléments les plus marquants de l'opéra, atteint des sommets extraordinaires dans cette tradition : puissante, sombre et d'une intensité émotionnelle bouleversante. L'impact de tels chœurs est immense, et leur sonorité confère à la partition une authenticité et une gravité uniques.

Pour moi, cette interprétation promet une profonde satisfaction personnelle, que tout véritable amateur d'opéra partagera sans aucun doute. Je ne peux m'empêcher d'imaginer que Verdi lui-même aurait éprouvé une immense joie en voyant sa musique prendre vie grâce à des musiciens et des choristes aussi exceptionnels, insufflant passion et intensité à chaque phrase. On a presque l'impression d'un dialogue à travers le temps, entre le compositeur et les interprètes, unis par la vitalité intemporelle de sa vision musicale.

Il est bon de rappeler que les compositeurs russes présents à la première écoutent l'œuvre avec une grande attention et une grande curiosité. L'influence de La forza del destino se retrouve dans de nombreux opéras russes composés dans les années qui suivirent, témoignant de l'impact profond de l'œuvre et du fécond échange artistique qu'elle a suscité.

Si vous êtes de passage à Saint-Pétersbourg, c'est une occasion à ne pas manquer. Entendre La forza del destino dans sa version originale, dans la ville même de sa création, interprétée par des artistes profondément imprégnés de la tradition qui l’a vue naître, est une expérience d’une rare beauté et d’une grande portée historique. C’est célébrer non seulement le génie de Verdi, mais aussi la force vivante de l’opéra lui-même – une force du destin qui continue de résonner, d’émouvoir et d’étonner, plus d’un siècle plus tard.

Lunedì 2 febbraio 2026 avrà luogo una straordinaria rappresentazione de La forza del destino di Giuseppe Verdi, un evento davvero raro e significativo per gli amanti dell'opera. La data stessa ha una notevole risonanza storica: era anche un lunedì 29 ottobre 1862, quando quest'opera debuttò proprio nella stessa città, San Pietroburgo, con Verdi stesso presente in teatro. Quella prima fu a dir poco epocale. Fu accolta con grande entusiasmo e la versione offerta dal compositore quella sera si rivelò un successo clamoroso, irradiando una potenza musicale che lasciò un'impressione duratura.

Nel corso degli anni, Verdi rivisitò La forza del destino e ne produsse una seconda versione riveduta, introducendo modifiche sostanziali: un finale completamente diverso, modifiche a diversi duetti e un nuovo preludio. Questa versione successiva, oggi più frequentemente eseguita, è innegabilmente più apertamente drammatica e teatrale. Eppure, da una prospettiva puramente musicale, la versione originale di San Pietroburgo possiede una forza e una ricchezza che molti ascoltatori trovano ineguagliabili. Il finale, in particolare, è magnifico: audace, ispirato e straordinariamente espressivo, una conclusione di sorprendente bellezza e profondità, pienamente degna del Verdi più audace e fantasioso.

È proprio questa versione originale, la prima russa de La forza del destino, che verrà eseguita al Teatro Mariinskij il 2 febbraio. Un'opportunità del genere è estremamente rara. Per gli appassionati d'opera, i devoti ammiratori di Verdi e soprattutto per coloro che desiderano assistere alla prima versione dal vivo, questa esecuzione rappresenta qualcosa di veramente eccezionale. In molti teatri d'opera in tutto il mondo viene proposta solo la revisione successiva; ascoltare la versione originale nella città in cui è nata è un privilegio di altissimo livello.

Vi è anche una profonda appropriatezza artistica e storica nell'ascoltare quest'opera eseguita da voci russe, poiché erano proprio queste le voci che Verdi aveva in mente quando la compose. La scrittura corale, uno degli elementi più sorprendenti dell'opera, raggiunge vette straordinarie in questa tradizione: potente, dai toni cupi ed emotivamente travolgente. L'impatto di queste forze corali è immenso e il loro suono conferisce alla partitura un'autenticità e una solennità uniche.

Per me, questa esecuzione promette una profonda soddisfazione personale, che ogni vero amante dell'opera condividerà senza dubbio. Non posso fare a meno di immaginare che Verdi stesso avrebbe provato un'immensa gioia nel vedere la sua musica prendere vita attraverso musicisti e coristi così superbi, infondendo passione e intensità in ogni frase. Sembra quasi una conversazione attraverso il tempo, tra compositore e interpreti, uniti dalla vitalità duratura della sua visione musicale.

Vale la pena ricordare che i compositori russi che assistettero alla prima esecuzione originale ascoltarono con grande attenzione e curiosità. L'influenza de La forza del destino è rintracciabile in molte opere russe scritte negli anni successivi, a testimonianza del profondo impatto dell'opera e del fertile scambio artistico che ispirò.

Se vi trovate a San Pietroburgo, questa è un'opportunità da non perdere. Ascoltare La forza del destino nella sua versione originale, nella stessa città della sua prima esecuzione, eseguita da artisti profondamente radicati nella tradizione per cui fu concepita, è un'esperienza di rara bellezza e significato storico. È una celebrazione non solo del genio verdiano, ma della potenza viva dell'opera stessa: una forza del destino che continua a risuonare, commuovere e stupire, a più di un secolo di distanza.

El lunes 2 de febrero de 2026 tendrá lugar una extraordinaria representación de La fuerza del destino de Giuseppe Verdi, un evento verdaderamente excepcional y significativo para los amantes de la ópera. La fecha en sí misma tiene una notable resonancia histórica: fue el lunes 29 de octubre de 1862 cuando esta misma ópera se estrenó en la misma ciudad, San Petersburgo, con la presencia del propio Verdi en el teatro. Ese estreno fue realmente trascendental. Fue recibido con gran entusiasmo, y la versión que ofreció el compositor esa noche resultó ser un éxito rotundo, irradiando una fuerza musical que dejó una huella imborrable.

Con el paso de los años, Verdi revisó La fuerza del destino y produjo una segunda versión revisada, introduciendo cambios sustanciales: un final completamente diferente, modificaciones en varios dúos y un nuevo preludio. Esta versión posterior, interpretada con mayor frecuencia en la actualidad, es innegablemente más dramática y teatral. Sin embargo, desde una perspectiva puramente musical, la versión original de San Petersburgo posee una fuerza y ​​una riqueza que muchos oyentes encuentran incomparables. Su final, en particular, es magnífico: audaz, inspirado y abrumadoramente expresivo, una conclusión de asombrosa belleza y profundidad, digna de un Verdi audaz e imaginativo.

Precisamente esta versión original, el estreno ruso de La fuerza del destino, se presentará en el Teatro Mariinsky el 2 de febrero. Una oportunidad así es excepcional. Para los amantes de la ópera, los admiradores devotos de Verdi y, especialmente, para quienes deseen disfrutar de la primera versión en vivo, esta representación representa algo verdaderamente excepcional. En muchos teatros de ópera del mundo, solo se ofrece la versión posterior; escuchar la versión original en la ciudad que la vio nacer es un privilegio de primer orden.

También existe una profunda pertinencia artística e histórica al escuchar esta ópera interpretada por voces rusas, ya que estas fueron precisamente las voces que Verdi tenía en mente al componer la obra. La escritura coral, uno de los elementos más impactantes de la ópera, alcanza cotas extraordinarias en esta tradición: poderosa, de matices oscuros y emocionalmente abrumadora. El impacto de estas fuerzas corales es inmenso, y su sonido aporta una autenticidad y una seriedad únicas a la partitura.

Para mí, esta interpretación promete una profunda satisfacción personal, una que cualquier verdadero amante de la ópera sin duda compartirá. No puedo evitar imaginar que el propio Verdi habría disfrutado inmensamente al presenciar cómo su música cobraba vida a través de tan magníficos músicos y coristas, infundiendo pasión e intensidad en cada frase. Se siente casi como una conversación a través del tiempo, entre compositor e intérpretes, unidos por la perdurable vitalidad de su visión musical.

Cabe recordar que los compositores rusos que asistieron al estreno original lo escucharon con gran atención y curiosidad. La influencia de La fuerza del destino se puede rastrear en muchas óperas rusas escritas en los años posteriores, un testimonio del profundo impacto de la obra y del fértil intercambio artístico que inspiró.

Si se encuentra en San Petersburgo, esta es una oportunidad que no debe perderse. Escuchar La fuerza del destino en su versión original, en la misma ciudad de su estreno, interpretada por artistas arraigados en la tradición para la que fue concebida, es una experiencia de singular belleza y trascendencia histórica. Es una celebración no solo del genio de Verdi, sino también del poder viviente de la ópera: una fuerza del destino que sigue resonando, conmoviendo y asombrando, más de un siglo después.

Saint Petersburg - Paquita - 30 January / 2 February 2026

Ballet lovers, and especially admirers of Marius Petipa and the glorious musical legacy of Minkus, Drigo, and Deldevez, have every reason to rejoice. In the coming days, Saint Petersburg becomes the beating heart of classical ballet, as the Mariinsky Theatre presents Paquita in its full version, danced by an extraordinary constellation of stars.

While the famous Grand Pas is universally adored, Paquita is so much more than its dazzling finale. The complete ballet is a treasure of classical choreography: a continuous lesson in academic ballet from curtain rise to final bow, rich in variations, styles, and steps that encompass the full vocabulary of classical dance. Set to the deliciously elegant music of Deldevez, Minkus, and Drigo, and performed by the sensational Mariinsky Orchestra, these performances promise an unforgettable feast for the eyes, the ears, and the soul.

This exceptional series consists of four unmissable performances, each led by a different prima ballerina of the Mariinsky, all of them artists one could happily watch again and again. Even the smallest roles are entrusted to remarkable dancers, making every evening a true festival of classical ballet.

Opening Night – January 30, 19:00

The series opens with the incomparable Viktoria Tereshkina, the company international superstar whose artistry and technical brilliance have illuminated every major role in her repertoire. Having enchanted audiences as Giselle just days earlier, ( She is dancing Giselle the 23rd january with Roman Belyakov )  she returns to the stage to inaugurate this Paquita run with authority, elegance, and dramatic depth. This role allows Tereshkina to reveal her refined acting skills alongside her legendary technique, commanding attention every moment she is on stage.

Her partner will be the magnificent Timur Askerov, whose noble style and musical sensitivity make him a superb match for Tereshkina. Together, they form a partnership of rare harmony and strength. January 30 is truly a date to mark in gold.

That evening also features Daria Ionova, a dancer of exquisite style and lyrical refinement. Her presence is a particular delight, as she embodies the promise of a future star—one can easily imagine her one day as an unforgettable Odette/Odile.

January 31, 19:00

The following night brings another dream cast: the radiant Renata Shakirova, a true Mariinsky superstar, dancing Paquita with vitality, brilliance, and irresistible charm. Her energy and musical intelligence light up the stage, making this performance a guaranteed triumph.

She is partnered by the powerful and elegant Yevgeny Konovalov, soon to be seen as Albrecht, whose classical line and dramatic presence complement Shakirova beautifully.

This evening is especially notable for the participation of Maria Shirinkina, who captivated audiences in December as Clara in The Nutcracker, opening the long 2025 series of performances. Seeing her now in Paquita alongside Shakirova is a rare and exciting opportunity to admire her versatility and growing artistry.

February 1

On February 1, audiences will be treated to the enchanting Oxana Skorik, the sensational dancer of Mariinsky ballet. Ethereal, aristocratic, and endlessly musical, Skorik brings her unique elegance to Paquita. While her Odette and Giselle remain unmatched, this role reveals her charm and refinement in a different, equally captivating light. the sensational dancer and rising star from Moscow , Nikita Korneyev  will dance with her this performance, it's a great opportunity to see him dancing this coreography ¡¡ 

Also appearing that evening is Anastasia Lukina, another outstanding Mariinsky ballerina, admired for her clarity, musicality, and expressive presence.

February 2, 19:00

The series concludes in the most refined and elegant manner imaginable, with the exquisite Maria Iliushkina as Paquita, partnered by the noble and polished Even Capitaine. Together, they provide a sophisticated and harmonious finale, a perfect closing chapter to four days of pure classical delight.

With the Mariinsky Orchestra in sublime form, a magnificent auditorium, and a cast of true superstars across all four evenings, these performances promise an unforgettable experience. Each night offers a different jewel, and together they form a radiant celebration of classical ballet at its very highest level.

For ballet lovers, these are not merely performances—they are moments to be lived, treasured, and remembered.

Les amateurs de ballet, et plus particulièrement les admirateurs de Marius Petipa et du glorieux héritage musical de Minkus, Drigo et Deldevez, ont de quoi se réjouir. Dans les prochains jours, Saint-Pétersbourg vibrera au rythme du ballet classique, le Théâtre Mariinsky présentant Paquita dans son intégralité, interprétée par une constellation d'étoiles exceptionnelles.

Si le célèbre Grand Pas est universellement adulé, Paquita est bien plus que son final éblouissant. Le ballet complet est un trésor de la chorégraphie classique : une leçon magistrale de ballet académique, du lever de rideau au salut final, riche en variations, styles et pas qui embrassent tout le vocabulaire de la danse classique. Sur la musique délicieusement élégante de Deldevez, Minkus et Drigo, et interprétée par le sensationnel Orchestre du Mariinsky, ces représentations promettent un festin inoubliable pour les yeux, les oreilles et l'âme.

Cette série exceptionnelle propose quatre représentations incontournables, chacune menée par une prima ballerina différente du Mariinsky, des artistes que l'on pourrait revoir avec plaisir. Même les plus petits rôles sont confiés à des danseurs exceptionnels, faisant de chaque soirée un véritable festival de ballet classique.

Soirée d'ouverture – 30 janvier, 19h00

La série s'ouvre avec l'incomparable Viktoria Tereshkina, une superstar internationale dont l'art et la virtuosité technique ont illuminé chacun des grands rôles de son répertoire. Après avoir enchanté le public dans le rôle de Giselle quelques jours auparavant, elle revient sur scène pour inaugurer cette série de représentations de Paquita avec autorité, élégance et une profondeur dramatique saisissante. Ce rôle permet à Tereshkina de révéler son jeu d'actrice raffiné, en plus de sa technique légendaire, captivant l'attention à chaque instant.

Son partenaire sera le magnifique Timur Askerov, dont le style noble et la sensibilité musicale font de lui un partenaire idéal pour Tereshkina. Ensemble, ils forment un duo d'une rare harmonie et d'une grande force. Le 30 janvier est une date à retenir.

Cette soirée mettra également en vedette Daria Ionova, une danseuse au style exquis et au raffinement lyrique. Sa présence est un véritable enchantement, car elle incarne la promesse d'une future étoile – on l'imagine aisément un jour dans le rôle inoubliable d'Odette/Odile.

31 janvier, 19h00

Le lendemain soir, une autre distribution de rêve nous attend : la rayonnante Renata Shakirova, véritable star du Mariinsky, danse Paquita avec vitalité, brio et un charme irrésistible. Son énergie et son intelligence musicale illuminent la scène, faisant de ce spectacle un triomphe assuré.

Elle est accompagnée par le puissant et élégant Yevgeny Konovalov, que l'on verra bientôt dans le rôle d'Albrecht, dont la ligne classique et la présence dramatique complètent à merveille la performance de Shakirova.

Cette soirée est particulièrement remarquable pour la participation de Maria Shirinkina, qui a captivé le public en décembre dans le rôle de Clara dans Casse-Noisette, inaugurant ainsi la longue saison 2025. La voir aujourd'hui dans Paquita aux côtés de Shakirova est une occasion rare et précieuse d'admirer sa polyvalence et son art en pleine évolution.

1er février

Le 1er février, le public aura le plaisir d'admirer la sublime Oxana Skorik, la sensationnelle danseuse du ballet Mariinsky. D'une grâce éthérée, aristocratique et d'une musicalité infinie, Skorik apporte une élégance unique au rôle de Paquita. Si ses interprétations d'Odette et de Giselle restent inégalées, ce rôle révèle son charme et son raffinement sous un jour différent, tout aussi captivant. Le sensationnel danseur et étoile montante moscovite, Nikita Korneyev, dansera à ses côtés lors de cette représentation ; une occasion unique de le voir interpréter cette chorégraphie !

Également présente ce soir-là, Anastasia Lukina, autre ballerine exceptionnelle du Mariinsky, admirée pour sa clarté, sa musicalité et sa présence expressive.

2 février, 19h00

La série s'achève de la manière la plus raffinée et élégante qui soit, avec la sublime Maria Iliushkina dans le rôle de Paquita, aux côtés du noble et distingué Even Capitaine. Ensemble, ils offrent un final raffiné et harmonieux, un point d'orgue parfait à quatre jours de pur bonheur classique.

Avec l'Orchestre Mariinsky au sommet de sa forme, une salle magnifique et une distribution de véritables stars tout au long des quatre soirées, ces représentations promettent une expérience inoubliable. Chaque soir est un joyau différent, et ensemble, elles forment une célébration rayonnante du ballet classique à son plus haut niveau.

Pour les passionnés de ballet, il ne s'agit pas simplement de spectacles : ce sont des moments à vivre, à chérir et à se remémorer.

Madrid - La forza del destino - 21 February 1863

Giuseppe Verdi was not, by nature, a man of journeys. He preferred the stillness of his home, the quiet discipline of work, the familiar rhythm of creation. Yet there were places powerful enough to draw him away from Italy, places where destiny itself seemed to call. Russia was one. Spain was another.

For Russia, he wrote La forza del destino, an opera born almost against his own will. Verdi had sworn he would compose no more. It was Giuseppina Strepponi—his wife, his muse, the great soprano who had once given voice to Nabucco when his name was barely known—who persuaded him otherwise. To her, we owe not only this opera, but the continuation of Verdi’s creative life. And so, guided by her faith, Verdi traveled to Saint Petersburg, where the opera finally premiered in 1862 to overwhelming success.

Spain soon followed.

The Teatro Real of Madrid, a symbol of ambition and elegance, wished not only to present La forza del destino, but to welcome Verdi himself. The theatre had waited decades to fulfill its destiny: conceived in 1818, delayed by history and hesitation, finally completed by royal command in 1850. Modeled in spirit after San Carlo in Naples and La Scala in Milan, it had become the gathering place of Madrid’s aristocracy, where music, power, and society met in equal measure.

Verdi arrived in Madrid on January 10, 1863, accompanied by Giuseppina. He lodged just across the street from the theatre, close enough to feel its pulse day and night. He devoted himself entirely to rehearsals, declining social invitations, avoiding salons and aristocratic soirées. This reserve earned him a certain coolness among Madrid’s elite, but Verdi did not mind. What mattered was the music—and the music was thriving. He admired the orchestra, the chorus, the staging. Everything was ready.

And then came the night.

Saturday, February 21, 1863.

Madrid shimmered under winter lights as carriages rolled toward the Teatro Real. The city knew it was about to witness history. Inside, the theatre glowed—velvet, gold, whispered anticipation. The royal box awaited its most distinguished guest.

At last, Queen Isabella II arrived, her presence commanding silence and reverence. Moments later, another figure took her seat among the audience: Rosalía de Castro. Poet, voice of Galicia, pioneer of modern Spanish literature, author of Cantares Gallegos, she carried within her the same longing and melancholy that lived in Verdi’s music. Though they came from different worlds, that night they shared the same destiny.

Verdi himself conducted the premiere.

From the first notes, the theatre was transformed. Passion, fate, love, violence, and redemption unfolded on stage with irresistible force. The audience was spellbound. When the final chord faded, the applause erupted—long, thunderous, unrestrained. Madrid had embraced La forza del destino as its own.

The opera was performed many more nights, but Verdi departed only days later, deeply satisfied. Giuseppina, more social by nature, delighted in Madrid’s life and warmth, even as her husband returned gladly to his quiet.

From Madrid, La forza del destino traveled the world: New York, Vienna, Buenos Aires, Rome, London, Mexico City. Later, Verdi returned to the score, reshaping it for Milan, adding the majestic overture now celebrated in concert halls everywhere. Yet the original “Russian version” lives on in Saint Petersburg, performed year after year—a reminder of the opera’s first destiny.

And still, on that winter night in Madrid, with a queen in her box and a poet listening in silence, destiny revealed itself not as a force of tragedy alone, but as a meeting of art, history, and human will—irrevocable, luminous, eternal.

Spain was a shining exception for Giuseppe Verdi.

He wasn't a man inclined to travel or social life, but Madrid—and later Andalusia—managed to open a crack of curiosity, wonder, and ultimately, enjoyment within him.

Verdi arrived in Madrid on January 10, 1863, accompanied by Giuseppina Strepponi. The Teatro Real, still young but already the epicenter of the capital's musical and social life, wanted more than just the premiere of La forza del destino: it desired the composer's presence. And Verdi accepted.

He stayed opposite the theater, literally steps from the stage. From there, focused and meticulous, he directed the rehearsals with his characteristic severity. He wasn't fond of receptions or aristocratic soirées, and he declined many invitations from Madrid's high society. He preferred work, silence, and the intimacy of his wife. That reserve earned him some antipathy, but Verdi wasn't in Madrid to please: he was there so his work would sound as it should.

Rehearsals progressed smoothly. Verdi was very pleased with the orchestra, the chorus, and the staging. Everything seemed to be falling into place.

And then night fell.

Saturday, February 21, 1863.

The Teatro Real was resplendent. Madrid society filled the hall: aristocrats, politicians, journalists, opera lovers. In the royal box, Queen Isabella II presided over the evening. Among the audience was also Rosalía de Castro, an essential voice in modern Spanish literature, author of Cantares gallegos, a foundational work of contemporary Galician literature. That night, music and poetry shared the same historical space.

Verdi personally conducted the opera.

From the very first bar, La forza del destino captivated the audience with its intensity, its drama, and its profound moral message. When the curtain fell, the success was resounding. Long, insistent, and heartfelt applause. Madrid had experienced a historic night.

The opera was repeated several times, but Verdi left a few days later, deeply satisfied. Giuseppina, more sociable, had enjoyed the Madrid atmosphere, even those aspects her husband usually avoided. For both of them, their stay in Madrid remained a happy experience.

After the triumph, Verdi allowed himself something unusual: a vacation.

He traveled south, and it was in Granada that something changed. There, he embraced a social life. Now far removed from the pressure of the premiere, he was entertained by his friend, the great baritone Giorgio Ronconi, who acted as his host. Verdi genuinely enjoyed those days. He visited the Alhambra, which left him utterly fascinated. Years later, he would recall that it was what impressed him most during his entire trip through Spain, even more than El Escorial, which he admired but which, in comparison, left him cold. The Alhambra, on the other hand, captivated him.

From Granada, he traveled to Córdoba, where the Mosque-Cathedral amazed him with its beauty and harmony, and then to Seville, a city that made a lasting impression on him. The cathedral overwhelmed him with its grandeur, and the Museum of Fine Arts awakened in him a particular enthusiasm. Verdi deeply loved painting, and in Seville, he took a special interest in the work of Bartolomé Esteban Murillo, whom he admired with attention and respect.

In those rooms, among Baroque canvases and Andalusian light, the composer found a different kind of beauty: silent, visual, contemplative. Spain offered him not only an operatic triumph but a complete aesthetic experience.

Thus, La forza del destino not only marked one of the most memorable nights at the Teatro Real in Madrid, but also one of the most unexpectedly happy journeys of Giuseppe Verdi's life. A journey in which fate, for once, was generous.

Giuseppe Verdi n’aimait ni les voyages, ni l’exil, ni les routes interminables qui l’éloignaient de l’Italie. Il était un homme de la terre, du travail silencieux, de la création enracinée. Quitter son pays lui coûtait, et pourtant, le destin — ce même destin qu’il allait mettre en musique — l’obligea à regarder vers le Nord, bien au-delà de tout ce qu’il connaissait.

Saint-Pétersbourg l’appelait.

À contrecœur, Verdi accepta l’invitation impériale pour écrire une nouvelle œuvre destinée au grand Théâtre impérial. Il avait même pensé ne plus composer. Mais Giuseppina Strepponi, son épouse, sa confidente, son inspiratrice, le persuada une fois encore. Grâce à elle, La forza del destino commença à prendre forme, pensée pour la Russie, pour ses voix, pour son public — et pour son hiver.

Le premier voyage eut lieu en 1861.

Verdi dut affronter un froid qu’il n’avait jamais connu. Les rues de Saint-Pétersbourg semblaient figées sous la neige, la lumière pâle, les distances infinies. Il supportait mal ce climat, lui qui détestait déjà le déplacement. Et pourtant, il travaillait avec une rigueur implacable, concentré, exigeant. Tout était prêt pour la création… mais le destin frappa une première fois : la soprano tomba gravement malade. La première fut annulée.

Verdi dut repartir.

Un an plus tard, en 1862, il revint à Saint-Pétersbourg. Une seconde traversée, un second hiver, plus rude encore. Deux voyages vers une ville qu’il n’aimait pas, à une saison qu’il redoutait, par devoir envers la musique et par fidélité à son œuvre. Peu de compositeurs auraient accepté une telle épreuve.

Cette fois, rien n’arrêta la première.

Lorsque La forza del destino fut enfin donnée, le succès fut éclatant. Le public russe accueillit l’opéra avec enthousiasme, bouleversé par cette musique où le hasard, la fatalité et la passion semblaient se refléter dans la vie même de son créateur. Verdi, réservé par nature, laissa transparaître une satisfaction profonde. L’effort avait trouvé son sens.

Ironie du sort : cette œuvre, née dans la neige et le froid, marquée par l’attente et l’épreuve, devint l’un des opéras les plus joués au monde. Et aujourd’hui encore, à Saint-Pétersbourg, la « version russe » originale est représentée chaque saison, fidèle à l’esprit de sa première destinée.

Verdi ne se rendit jamais en Russie par plaisir. Il y alla par nécessité, par loyauté, presque par sacrifice. Deux fois. En plein hiver. Et c’est précisément là, au bout du monde et du froid, qu’il donna naissance à une œuvre où le destin, implacable et sublime, règne en maître.

Milano attendeva La forza del destino come si attende un ritorno solenne.

Non era una semplice prima: era una rinascita.

Dopo il successo della versione russa, Verdi sentì che l’opera non era ancora giunta alla sua forma definitiva per il pubblico italiano. La partitura lo soddisfaceva profondamente, ma il dramma — così cupo, così implacabile — appariva a molti eccessivo nella sua violenza. «Dobbiamo trovare il modo di evitare tutti questi morti», scrisse al suo librettista Francesco Maria Piave. Non era un ripudio dell’opera, ma un atto di lucidità teatrale.

Il destino, ancora una volta, intervenne: Piave si ammalò, e l’incarico passò ad Antonio Ghislanzoni. Il libretto venne profondamente rielaborato. Il finale fu trasformato: nella prima versione Don Álvaro si suicidava gettandosi da un dirupo; ora, al suo posto, Verdi cercò una redenzione possibile, una luce oltre la tragedia. Cambiarono il terzo atto, alcune scene cruciali, e soprattutto l’equilibrio morale dell’opera.

Verdi, intanto, tornò sulla musica.

Sostituì il breve preludio con una nuova, ampia ouverture: una vera architettura sonora, costruita sui motivi principali dell’opera, oggi tra le più celebri e riconoscibili della storia del teatro musicale. Aggiunse anche una nuova scena finale nel terzo atto, dopo il duello tra Carlo e Álvaro, rafforzando la tensione drammatica.

Così nacque la seconda versione di La forza del destino — quella che il mondo avrebbe conosciuto, amato e registrato per sempre.

La prima ebbe luogo il 27 febbraio 1869, al Teatro alla Scala di Milano.

Quella sera, la Scala visse una delle sue notti più felici e memorabili. Il teatro era colmo, vibrante di attesa. Verdi, notoriamente severo, diffidente verso i teatri — e in particolare verso la Scala, con la quale aveva avuto rapporti spesso difficili — osservava tutto con attenzione estrema. Era esigente fino all’eccesso, inflessibile sulle prove, sulla precisione, sulla verità teatrale.

Eppure, quella sera, tutto funzionò.

L’orchestra rispose con forza e chiarezza. Il coro fu compatto, drammatico, parte viva dell’azione. La scena servì la musica senza tradirla. L’opera avanzava con una potenza nuova, più equilibrata, più consapevole, senza perdere la sua anima tragica.

Al termine, l’accoglienza fu travolgente.

Il successo fu fabuloso.

Per Verdi, non fu solo un trionfo pubblico, ma una vittoria intima. Era soddisfatto — davvero soddisfatto — e questo, per chi lo conosceva, era il segno più alto di approvazione. Se Verdi era felice, significava che la Scala aveva lavorato bene. Molto bene.

Quella notte, Milano non assistette soltanto a una prima d’opera. Assistette alla nascita della versione definitiva di La forza del destino, e a uno dei momenti più luminosi della storia del suo teatro. Un’opera segnata dal fato trovava finalmente il suo equilibrio, e il suo autore, uomo difficile e grandissimo, poteva riconoscere — con raro sorriso — che il destino, almeno quella sera, era stato dalla sua parte.

España fue para Giuseppe Verdi una excepción luminosa.

No era un hombre inclinado al viaje ni a la vida social, pero Madrid —y luego Andalucía— lograron abrir en él una grieta de curiosidad, de asombro y, finalmente, de disfrute.

Verdi llegó a Madrid el 10 de enero de 1863, acompañado por Giuseppina Strepponi. El Teatro Real, joven aún pero ya convertido en epicentro de la vida musical y social de la capital, había querido algo más que el estreno de La forza del destino: deseaba la presencia del propio compositor. Y Verdi aceptó.

Se alojó frente al teatro, literalmente a unos pasos del escenario. Desde allí, concentrado y meticuloso, dirigió los ensayos con la severidad que le era habitual. No era amigo de recepciones ni de veladas aristocráticas, y rechazó muchas invitaciones que la alta sociedad madrileña le hizo llegar. Prefirió el trabajo, el silencio, la intimidad con su esposa. Aquella reserva le valió cierta antipatía, pero Verdi no estaba en Madrid para agradar: estaba allí para que su obra sonara como debía.

Los ensayos avanzaban con solidez. Verdi quedó muy satisfecho con la orquesta, con los coros y con la puesta en escena. Todo parecía alinearse.

Y entonces llegó la noche.

Sábado, 21 de febrero de 1863.

El Teatro Real resplandecía. La sociedad madrileña llenaba la sala: aristócratas, políticos, periodistas, aficionados a la lírica. En el palco real, la reina Isabel II presidía la velada. Entre el público se encontraba también Rosalía de Castro, voz esencial de la literatura española moderna, autora de Cantares gallegos, obra fundacional de la literatura gallega contemporánea. Aquella noche, música y poesía compartían un mismo espacio histórico.

Verdi dirigió personalmente la ópera.

Desde el primer compás, La forza del destino atrapó al público con su intensidad, su dramatismo y su hondura moral. Al caer el telón, el éxito fue rotundo. Aplausos largos, insistentes, emocionados. Madrid había vivido una noche histórica.

La ópera se repitió en varias funciones, pero Verdi partió pocos días después, profundamente satisfecho. Giuseppina, más sociable, había disfrutado del ambiente madrileño, incluso de aquello que su marido solía evitar. Para ambos, la estancia en Madrid quedó marcada como una experiencia feliz.

Tras el triunfo, Verdi se permitió algo poco habitual en él: vacaciones.

Viajó hacia el sur, y fue en Granada donde algo cambió. Allí sí hizo vida social. Ya lejos de la presión del estreno, fue agasajado por su amigo, el gran barítono Giorgio Ronconi, quien ejerció de anfitrión. Verdi disfrutó sinceramente de aquellos días. Visitó la Alhambra, que lo dejó profundamente fascinado. Años después recordaría que fue lo que más le impresionó de todo su viaje por España, incluso más que el Escorial, que admiró pero que, en comparación, le dejó frío. La Alhambra, en cambio, lo cautivó.

Desde Granada viajó a Córdoba, donde la Mezquita lo maravilló por su belleza y su armonía, y luego a Sevilla, ciudad que le causó una impresión duradera. La catedral lo sobrecogió por su grandeza, y el Museo de Bellas Artes despertó en él un entusiasmo particular. Verdi amaba profundamente la pintura, y en Sevilla se interesó de manera especial por la obra de Bartolomé Esteban Murillo, a quien admiró con atención y respeto.

En aquellas salas, entre lienzos barrocos y luz andaluza, el compositor encontró una forma distinta de belleza: silenciosa, visual, contemplativa. España le ofreció no solo un triunfo operístico, sino una experiencia estética completa.

Así, La forza del destino no solo marcó una de las noches más memorables del Teatro Real de Madrid, sino también uno de los viajes más inesperadamente felices de la vida de Giuseppe Verdi. Un viaje en el que el destino, por una vez, fue generoso.