More Don Carlo ROH...

All photos Catherine Ashmore from playbillarts.com



A few brief words about the production itself….

This is not a revolutionary, controversial take on the opera, but a classic and composed one. The sets are minimalistic and for those put off by the black walls with tiny windows all I can recommend is for them to buy the program where they will discover this a very realistic replica of the Escorial. I remember from the insight evening last year that both Bob Crowley and Nicholas Hytner visited the place and the designs reflect that, apparently even the black angels on Carlo V tomb exist and Philip’s chamber is also realistic. I think if you decide to place to story where and when it really happened, this production does it’s job. Especially costumes are elaborated to a surprising degree of detail! Unfortunately if you are not seated in the first rows or use binoculars you might miss all the intricacies and refinement of said costumes. They are most likely quite uncomfortable to wear for the singers, but they definitely help place you in time at the Spanish court. I am honestly torn on the subject… I personally love the costumes and the amazing craft of the tailors and embroiders and I am lucky to have seen them up close in the said insight evening. Jaw-dropping!! I’d love to be able to wear one of those dresses once! However, did anyone notice the Infante is actually wearing two different costumes? That in act 3 he changes into one made of black satin and until then is wearing a leather one? How many actually appreciate the embroideries, the fitting boots, the delicate stockings, the lush taffetas and incredible variety of silk and embroideries black on black on the ladies’ dresses? I can’t bring myself to call it a waste... but I sadly wonder if it is appreciated at it’s true value….

I really like the black walls and the rays of light penetrating through the tiny windows… they probably make you feel like they must have felt in that monastery, doomed, incarcerated, alone. I am not sure the moving tomb adds something, the fact that it retreats in the background does no actually manage to convey the feeling we have moved inside the space of the monastery. The box design in itself does provide almost seamless changing of scenes, which I much appreciate as it keep you captive in the music without interruption. It also improves acoustics, which is a bonus. I never get a feeling of the set being too dark, of there being too much black because it must feel like that, to show off the contrast to the scorching sunlight even more. The light in the garden scene I am told by a Spanish friend is strangely realistic and the singers probably feel in those costumes the full power of the heat under the stagelights… I thought the red brick wall was slightly strange at first de to the cone shapes on it, but on repeat viewings it just is a red brick wall and in terms of colour coding works well with the rest I believe.

I don’t think the concept in itself is original, but with the focus to make it realistic it couldn’t be. To me personally it is largely similar to Luc Bondy’s previous one, with the exception of the colour coding, where we have red here, there we had marine blue and the yellow was much more intense. However, I like the costumes by Bob Crowley more, as they go all the way and look truly authentic, not only a stylised version and therefore fit better.

The one scene which I feel is weaker than the rest is the auto-dafe. There is just too much going on. Understandably there should be a contrast between the monastery and this public scene of celebration, but it is total overkill and end up being much less scary than it should be. The church is golden, the heretics have flames painted/stitched on their costumes which look like modern paintbrush additions, the masses are screaming, the priest is preaching, the gas installation makes strange noises and finally the big image of Christ’s head comes alight with the bodies of burning heretics behind it ( bodies which from anywhere closer than 6-7 row look decidedly fake). By the way, in the first part of the hall the image is never really obscured, the cloth being from close up rather transparent showing the metal poles and make-believe bodies clearly. I agree that the angry , hissing masses are probably a more realistic depiction of truth than a composed chorus, however all the rest I could do without. We know they will be burned, the music and text emphasise it and the golden church at the back is just kitschy. I don’t think all elements should be dropped, but some rationalisation should help take the glitter factor out and put the scary factor back in. I found the slowly dropping ashes in Bondy’s version much more chilling than the flames against the Christ image with the golden walls at the back, but maybe it is just my taste.

All in all I see no problem in sitting through this performance for years to come as long as the singers are as engaged as the current cast; the production is bare enough to increase the impact of exceptional singing and acting but will also cruelly expose any weaknesses.

Talking about exceptional singing, the performances this week brought some really memorable moments.

Monday Jonas was the totally destroyed and melancholic Carlo, his own slight tiredness (due to the incredible heat suffered on stage at the hand of both lighting and leather costume with puffy pants… don’t know what is up in the House with aircon, on Friday the 18th I froze my toes off and on Monday the 21st I could have sat through it in a bathing suit, those costumes must have been true torture instruments on the day… )feeding back into the character in an amazing way, which made as far as i was concerned for the most emotional rendition of Carlo from the run. The scene in the garden with Marina Poplavskaya (called hereby - I assure you - respectfully but warmly and with my readers’ permission Popy) made your hair stand up! It is amazing how, when he has to be extra careful while singing, the piani become more fascinating and the whole singing takes on even more colours than usual. For instance in terms of the duo with Posa, the one on Monday was the very very best of the run... beyond words!!! Simon Keenlyside himself in amazing form contributed to the absolute perfection of the duet. I can’t imagine what the two could do to outdo their performance on Monday. Popy was good, but she had some trouble softening down to the level Jonas was at on Monday, however to be fair, that level of emotional connection or communication with the public is not easy to achieve.

However, on Wednesday she was a different singer!!!! You wouldn't believe how much better she was in terms of interpretation! I could really really hear how she has sung Violetta, the emotions really came through in her singing, like never before. All the duos were better and it was interesting all the way through, not only in the big aria at the end. I have no idea what determined her to put herself more out there, but it definitely worked. There were still some uphill battles on some high notes, where there is a bit of a scoop, but altogether there was so much more in her singing, her piani really were better and it sounded so much warmer and believable. More people have seen both performances and we all noticed the change, she just expressed so much more emotion all the way through. Even if at times it might sound less controlled than before it is more interesting and enjoyable. Her Elisabetta really became a human being showing love, anger, hurt, passion.. so much more than just the composed queen.

Jonas on Wednesday was a different story entirely! I've rarely seen him so bursting with energy! In his first entrance he almost knocked over a big white tree and had to actually hold on to it as it was dangerously wobbling! Both voice and presence were simply explosive. He so clearly dominated the 1 part it was palpable. I have to say it is sometimes really nice to see him become so naturally the star of the show, he is THE TENOR! And Verdi has given him some amazing music :-) The voice was just unstoppable, flowing with amazing power and confidence. Listening to his first aria literally makes my mouth water! Biiiiiig applause, probably so surprising for him as well that he started his next entrance a whole phrase earlier ;-) You should have heard his Carlo son iooooo..... Mein Gott!! And he just kept on along the same line... "Feuer und Flamme!" Any high note was so beautiful, in a crushing kind of way :-) Everyone in the audience was blow away. It was one of those nights for him that just lifts the hall. All those desiring of all things “Italianate” got all their wished fulfilled on the night ;-) He had so much excess energy he stumbled not only into the fountain, but also on the black backstage wall, almost doubling over on his exit before the veil song, he splashed the water in the fountain in the garden all over himself in the garden scene with Popy, he promptly sat on the bouquet of artificial poppies while declaring his undying love for Isabella (and made me smile in the middle of teary sniffles…poppies proved to be sturdy enough to withstand the puffy pants attack ;-))) ) … unstoppable in every way :-) The pressure was palpable also in the duet with Simon Keenlyside’s Posa, who had a slightly weaker day. His "i will sing my heart out" style on the night was totally charming while at the same time giving a very different version of Carlo. The weak and hesitating Carlo didn't really show up that day and we got much more of the revolutionary infante :-) It is just hard to feel much pity for such a feisty Carlo, when he is so obviously doing great!! :-) On the other hand he was a wonderful colleague to SK, supporting him all the way through the long and hard death scene, where the balance on the night was very different to the previous show, but nevertheless worked in terms of the Posa+Carlo bond.

Bychkov must have shared some of that energy on the night because i think the garden scene with Eboli, Posa and Carlo was faster than ever.

I am impressed as ever with Furlanetto’s Philip, a bit underwowed by Tomlinson’s Inquisitor, pleased by Marianne Corentti’s energetic approach to the O don fatale, admiring Keenlysides elegant and stylish rendition of Posa - a role which now truly fits him like a glove-,conquered by Popy’s work, dedication and growth (she has really won me over!) and simply grateful for being there and being able to listen to Jonas’ Carlo, whichever the mood of the “infante” on the day :-)

So, one exiting evening after another... wonder how the next one will be? I have no idea how the BBC will chose the bits to air on the broadcast night... the microphones for recording have been there on every night.

Last, but not least, here a review from Rupert Christiansen in the Telegraph (“that dream of a tenor…” ;-))) ):

http://www.telegraph.co.uk/culture/music/opera/6227663/Don-Carlo-at-the-Royal-Opera-House-review.html



By the way, has anyone ever noticed how in Elisabetta’s aria in act 5 the last bit is introduced by a strings passage that resembles a similar one in Lohengrin in a really striking way? Really quirky coincidence this one :-)