Ángel de Saavedra

Nascimento : 1791-03-10, Córdoba, Andalucía, Spain

Morte : 1865-06-22

História

From Wikipedia, the free encyclopedia - https://en.wikipedia.org/wiki/Ángel_de_Saavedra,_3rd_Duke_of_Rivas. Don Ángel de Saavedra y Ramírez de Baquedano, 3rd Duke of Rivas (Spanish: Ángel de Saavedra y Ramírez de Baquedano, Duque de Rivas) (10 March 1791 – 22 June 1865), was a Spanish poet, dramatist and politician born in Córdoba. He is best known for his play Don Álvaro; o, La fuerza del sino (1835), the first romantic success in the Spanish theater. He fought in the war of independence, was a prominent member of the advanced Liberal party from 1820 to 1823. In 1823, Rivas was condemned to death for his liberal views and fled to England. He lived successively in Italy, Malta and France, until the death of Ferdinand VII in 1833 and the amnesty of 1834, when he returned to Spain, shortly afterwards succeeding his brother as duke of Rivas. In 1835 he became minister of the interior under Isturiz, and along with his chief had again to leave the country. Returning in 1837, he joined the moderate party, became prime minister, and was subsequently ambassador at Paris and Naples and president of the Real Academia Española. In 1813 he published Ensayos poéticos, and between that date and his first exile several of his tragedies (the most notable being Alatar, 1814, and Lanuza, 1822) were put upon the stage. Traces of foreign influence are observable in El Moro expósito (1833), a narrative poem dedicated to John Hookham Frere; these are still more marked in Don Álvaro o la fuerza del sino (first played on 22 March 1835 in Madrid), a drama which emerged from heated literary controversy. Don Álvaro is of historical importance inasmuch as it established the new French romanticism in Spain. The play was used as the basis of Francesco Maria Piave's libretto for Verdi's opera La forza del destino (1862). As a poet, Rivas's best-known work is Romances históricos (1841), adaptions of popular legends in ballad form.

Filmes

Verdi La Forza del Destino
Verdi La Forza del Destino
Original Story
This performance of 2014 can be considered as a reference on account of the quality of the vocal material involved and because the daring staging of Austrian Martin Kušej is rich in meaning within the context of the global challenges of today. He proposes a reflection on war, on vengeance and also on the mark of guilt which ends with the joie de vivre and the expansion of passions. In the intimacy of Calatrava, his is a post-Bauhaus picture of a Fascist neatness which then contrasts with the chaos of battles, the abyss of misery and the sexual stampede after triumph or failure. In this context, religion, instead of being a consolation is both an escape and the tomb of humanity; the chapel wherein Leonora hides is made out of huge crosses and in one of them, just for a moment, Don Álvaro seems crucified by his fate.
La forza del destino
La forza del destino
Original Story
Director Stefano Poda set the action in the mid 19th century. There’s not a piece of furniture in the whole show. Just a lot of slabs which change position as the opera progresses. There were also a lot of non-singing characters in strange poses who popped up here and there. This sort of staging is not the usual for the Parma house which typically stays close to the traditional. There’s nothing wrong with the staging that a first rate musical effort couldn’t overcome. But that effort was not forthcoming.
La Forza del Destino
La Forza del Destino
Original Story
Leonora plans to elope with Don Alvaro, but he accidentally shoots and kills her father, who curses them as he dies. The lovers go on the run, but get separated. Bent on revenge, Leonora's brother Don Carlo, hunts them down. Verdi painted an immense canvas with this dark but tuneful opera, vividly brought to life in John Dexter’s production, with sets by the great Eugene Berman. The legendary Leontyne Price is seen in one of her greatest roles, Leonora. Price’s soaring voice encompasses every nuance of Leonora’s emotion as she moves from joy through resignation to ultimate heartbreak. James Levine’s brilliant leading of the Met orchestra and chorus is a lesson in Verdi style. Giuseppe Giacomini is Alvaro, the man Leonora loves, and Leo Nucci is Don Carlo, the dark instrument of their Fate.