The Sarasota production, the first U.S. professional mounting of the original, was well sung and well conducted, by Victor DeRenzi. The genre roles deserve special commendation: Preziosilla (Lorraine DiSimone), Trabuco (Michael Hendrick) and Melitone (Stephen Eisenhard).

Sarasota Opera is engaged in a long-term Verdi cycle, and this year’s offering, La Forza del Destino, came in two versions the original St. Petersburg opera of 1862, and Verdi’s definitive revision for La Scala of 1869. The Sarasota production, the first U.S. professional mounting of the original, was well sung and well conducted, by Victor DeRenzi. Though staged with almost alarming simplicity, it made a strong impression. The genre roles deserve special commendation: Preziosilla (Lorraine DiSimone), Trabuco (Michael Hendrick) and Melitone (Stephen Eisenhard).

At a two-day conference in connection with these performances, organized by the American Institute for Verdi Studies, William C. Holmes walked attendees through the tangle of Verdi’s revisions, which mainly concern Acts III and IV and especially the ending. From the deaths of Leonora, Carlo and Alvaro in the original, we now have within the new terzetto finale Alvaro’s ecstatic cry, “Leonora, io son redento!” (Leonora, I am redeemed!). In the original Forza, when Leonora dies the Padre Guardiano is merely a spectator as Alvaro leaps off a cliff uttering a curse upon all mankind. The 1869 change, which stands the drama on its head, can seem particularly unnerving: the Force of Destiny becomes the Power of Christianity. Many critics and scholars who study Forza register some regret about this volte-face. According to Andrew Porter, writing in these pages about last season’s Met production, the 1862 finale is obviously “the ‘true’ ending of the drama … destiny driving ruthlessly, swiftly, violently to its destructive close,” even though 1869 indeed brings “nobler, ampler music.”

Few, one suspects, who have sat through the two versions back to back will share any such regret. It’s not just that the 1869 ending is so beautiful, and was sung so beautifully at Sarasota. The 1862 ending is just not very good music. Alvaro and Leonora sing an excited but rather unfortunate duet of recognition. Leonora has an adequate death scene but not a great one. The stormy music accompanying Alvaro’s suicide lacks profile. Destiny drives swiftly and destructively but not persuasively.

In any case, the pious 1869 ending has received ample preparation earlier in the drama. Scene 1 of Act II contains various prayers and a big hymn, and Scene 2 is all about religious anguish and consolation. Again, the Sarasota performance underlined this preparation, for Scene 2 counted as another high point. Tamara Wright shone in “La Vergine degli angeli,” and of all the principals bass Matthew Lau gave the most pleasure vocally (if not, alas, histrionically). True, one regrets losing Alvaro’s Act III aria, especially with a stylish tenor like Robin Reed, who can make the most of the high C in the cabaletta.

Bravos, finally, to the whole Forza troupe for the hard work and intelligence they brought to the task of learning and singing two different — sometimes only slightly different — versions of the same opera within the space of a few days (March 22-24) and without any discernible prompter. JOSEPH KERMAN

http://www.highbeam.com/doc/1P3-10163032.html

by Joseph Kerman

Opera News