Once is not enough!

Sunday, Don Carlo at the ROH – It was in all respects an unforgettable day, new and unique in many ways. This is an opera I know very well and adore but had never seen live before. It was also a new production at ROH, so few things were known in advance and other than Pappano himself and the ROH orchestra I had never seen or heard any of the singers live before.

I was lucky enough to take part in the insight day and get a preview of the tremendous amount of work that goes into a production of this size..it all starts almost 2 years in advance and endless hours and ideas go into it from director, set and costume design, lighting, props, armoury, etc. Knowing about all this in advance does make one a much more generous audience, but I don’t see this as a fault, rather as an advantage. We should know about the work that goes into a production, that is comes to live no only thanks for orchestra and some 10, 20, 200 people o stage. But then again I am a generally grateful listener and viewer. Yes I have seen many amazing videos of this opera and listened to even more famous recordings but it is not in my nature to go to a performance looking to find something I have heard or seen before. I look forward to the music and wish to be touched and entertained.

And entertained I was, and boy was it an emotional rollercoaster ride!

Is it a modern production…maybe, depending on what you define as modern. Is it unrecognisable and a riddle? By no means! Totally identifiable and clear, you know immediately where you are and the story unfolds clearly and unambiguously and I am thankful for that. I love the story and I didn’t want it changed, I just wanted it told in an original and exciting way. But by no means is the story told in a boring, static and unimaginative fashion. You don’t see reproductions of Goya or Velasquez on stage, this is not a fashion show of the middle ages in Spain nor is it a lesson in ancient interior design, and it shouldn’t be. This is, as in opera in general, a story of people, of destinies bound, changed and limited by the times in which they live, like human life in general. And it was this story that the production focused on.

Before I go any further let me state the one thing I disliked about it, visually and musically – the Autodafe. I disliked all of it, the colours, the staging, the interference with the music, the way it clashes with the overall concept. It is loud in a bad way, it is kitsch, it is way way over the top, it is utterly tasteless! Whereas the rest of the production brings millions of shades of light and darkness into live, where it displays elegant simplicity and stark, visually and emotionally intensive images this has a huge golden cathedral, a bloody Christ image, screaming masses and preaching priests, all drowning out some of Verdi’s most beautiful music for both chorus and orchestra. The heretics condemned by the inquisitions wear KuKlux clan robes and hats wit flames on them ( really? It is not like we don’t know the inquisition will burn them) The masses scream for blood – literally, the priests scream at the heretics and then the same masses are supposed to fluidly switch to singing. Well, it ain’t happening! Oh and behind the Bloody Christ curtain 5 shapeless bodies are burned but the flames never really reach them properly .This is more cheap Hollywood thrill than opera, more Braveheart than Verdi… and even in Braveheart torture was more dignified than this! It is too noisy and there is too much going on for it to be truly scary and powerful, which is a pitty. This production was accused for focusing too much on the love story and too little on politics… It would have been this and the dialogue between king and inquisitor which highlight politics…. Sadly in the case of the autodafe politics is very badly done indeed! It wishes to be realistic but ends up being just noisy and kitsch. Verdi wrote the power and the force into the music to perfection, every note in the scene underlines it and all these gimmicks manage to do is dilute this impact.

Anyway, enough about that…. It is a very low point of the production but luckily it sits in the middle and is therefore not the impression you are left with in the end. And there is still hope that this can be cleaned up in future revivals.

I’ve heard people comments that this production is dark and black. I disagree with both..yes there is black, but this is the Spanish court…but I have rarely seen so much variety in just one colour, so many textures and shades. The costumes are simply amazing and there are no two the same. I look forward to the DVD to discover all the intricate details of stitching I have seen from a distance. The costumes sit perfectly and give the characters the right amount of individuality and personality. Love Filips entrance in the gardens with some soldiers and courtiers, hey make striking and well defined pictures, you feel you are in Spain and a big cheer to everyone for wearing their costumes so naturally which must not be easy with meters and meters of silk and velvet. Same for the beautiful handcrafted and originally heavy swords and daggers. I have seen them up close and they are amazing! Nobody tripped while wearing them, they all looked born and bread with them, bravo! Just like everything else in this production I thing the true beauty lies in the details and maybe we the audience should pay closer attention then just spending 4,30 h counting high notes and low notes ;-)

Staging is scarce with many dark and oppressing walls which come to live vividly thanks to some of the most amazing lighting work I have ever seen. I sadly don’t remember their names but they deserve a big fat bonus! Carlo’s entrance into the monastery after Fontainebleau into a huge dark space with Carlo V tomb is eerily lit by lights dissecting the darkness through small squares in the walls. Probably next to the white fairly tale like image of Fontainebleau the most beautiful image of the entire show. Beautiful also the golden hot light in the queen’s garden. And I especially liked the chorus of ladies dressed in amazing black dresses wearing blood red fans and flowers. Yes the garden wall is slightly Lego -like ( what’s up with those strange cones on the bricks? ) but the contrast between red, black yellow works very well ( the poppy fields in the back are also a nice detail and it shows that sadly real live is outside the walls, beyond the reach of those enclosed in the gardens).

But as said the scenes at St Justo work best in all their blackness, darkness and grandness. It doesn’t look plasticy and for those who thought the black marble angels are too much, well they really exist in the Escorial and I like the idea of them symbolising peace and tranquillity in death because that is the final message for Carlo’s destiny.

Definitely looking forward to seeing it again to discover further details because I am sure there are many more I have missed out J

Now to the cast and characters…



Lloyd/ the monk/CarloV – good but no longer great, I guess age is slowly taking its toll but still allows for a beautiful sound J

Eboli/Ganassi- not her ideal role I would say, she convinced in O don fatale but other than that her voice had many difficult moments which almost made me think she would be able to deliver the big aria..she managed in the end but she just lacks some “spunk”, she seems a far lesser character than she could be in the story;
Elisabeta/Poplavskaya – we were told she was still suffering from the effects of bronchitis, but I heard no such thing in her voice. It is a beautiful instrument and she sang well and I am sure as she gets more experienced it will get even better. I didn’t find her cold as some critics said, she showed the right amount of dignity for the queen; if she would not have been so restrained than Carlo’s desperation would have made less sense so in context well played J

Halfvarson- I have seen his inquisitor in video again and his evilness and sheer power of character is amazing and fun to watch. There are no shades and no excuses in this character, he is what he is and there are no excuses about it. He has the power to sink or save the king and this comes beautifully across. Sheer pleasure to watch and hear! And he has all gestures of physical frailness down to a T, which only bring out even more the contrast to the absolute power his character holds. The way he menacingly and all powerful lifts the cross on Fillips desk above his head in a gesture of absolute rule with a trembling hand is amazing, very good choreography.

Filip/Furlanetto – while were are at it the relationship between king and inquisitor is beautifully played. Furlanetto’s is a deeply religious king, he holds the Inquisitor’s hand in seek of guidance and absolution. Confrontation comes but it is obvious that the king depends on the Inquisitor. Their dialogue is exquisite, musically, vocally, in choreography. They are both very good singers, and very experienced in playing these parts. I enjoyed Furlanetto’s more human kings tremendously, he played the various shades of his character admirably. This comes across especially in his dialogue with Posa and in the dialogues with the queen. With Posa we see both king, but a wise one who does not condemn open expression of opinion, and human being..a father who is jealous and weary of his son; also a lonely man in power who seeks maybe not an equal because there is none but somebody who this power is not overwhelming. Destruction and ultimately failure for this king lies not from in his human fragility but in his absolute belief and reliance on fate and on old ways of imposing it. In the end Posa’s suggestions merely become interesting ideas but for his time in life he stays with the old ways, Flanders will not be free and in return he remains king, with the support of the Inquisitor. I don’t know why people felt there was not enough politics in the performance, it was there all right just more subtle and combined with the human side of the king, equally as powerful. Also beautifully played his jealousy towards his wife,and his obvious love for her. You feel sorry for this king, as his is a lonely existence and somehow feels the end of his time: he does not find a support in Posa as they don’t share beliefs although they share a code of honour; his wife is his truly but not in live with him, his has the inquisitors strength at his side but it comes with absolute submission, he never manages to share with his son more than blood and their respect and admiration of Rodrigo. Furlanetto is a star and his was applauded as such but I got the feeling that in previous performances he had also been THE star of the show which he wasn’t tonight, I am glad to say. Not that I didn’t cheer him and applaud him, but this opera is only truly a success if everyone is exceptionally good, and on Sunday they were, not one stood out, they all did!

Rodrigo/Keenlyside – him I was almost most curious about because I had never heard his voice even in recordings. He is obviously the ROH’s beloved child who can do nothing wrong ;-) He is no Verdi baritone, not like Cappuccilli or Bruson or others. So I started of doubting his Rodrigo, or more his ability to charm me into liking his singing. But like it I did! What his voice may lack sometimes in weight, in broadness he more than compensates in technique and acting.His singing is truly beautiful! Not a note goes wrong, nothing is out of control, the phrasing is endless and flows with no effort, you hear no breathing and the ever so small passages of coloratura where amazing. I long to hear his Don Giovanni! And I came to recognise that I can be conquered by something other than a beautiful tone of voice. I was totally charmed by some especially beautiful singing of a not so perfect voice. His Rodrigo was dignified, warm, brave and honest and a true friend. There were may scenes I especially liked in this show: The dialogue Filip-Inquisitor was true musical pleasure,but there were two others which truly touched my heart beyond my ears, one of which was the last scene between Rodrigo and Carlo. Such singing, such emotion in every tone of voice! Such gestures! I could not stop my eyes from tearing and my heart from aching! Pity I had to do some sound control for obvious reasons. But no sound control when it came to applauses I joined the entire ROH in cheering this wonderful and shy singer on! Now I know why he is loved so much and what can I say, I have just joined the crowds J ( And the fact that this overwhelming applause still makes him blush and shy away from the attention is truly endearing!)

Last, but by no means least, Rolando/Carlo: Now, having listened to him live and also having been lucky enough to briefly meet him in the signing afterwards I must say that all prejudice and rumour about this man is false, but one! Yes, he does give it all and more on stage and that makes him special. But his is not even remotely fidgety or hysterical, neither on stage nor in person! He has strong features but close up he is an incredibly handsome man and yes, very charming. He is I am sure exuberant at times but I have known him to be essentially shy and showing a good dose of distance to the unknown bunch of fans. He is intelligent and warm and very very coquet! (Good for him! ) And he is much taller than he seems! But enough about the man, let’s talk some shop about the singer! I had heard his voice before and has read the critics. I liked his recorded singing and wanted the critics to be wrong. I wanted to hear him with my own ears and know whether I liked him or not, and I know myself, had a heard anything wrong I would not have been able to overlook it. I do not judge because singers are human but I would not have been able to walk up t him and say I liked your singing had it not truly been the case. His voice is smaller in volume than you would think from recordings, significantly so, I would not expect him to fill the Met. But! It is infinitely more beautiful live than you would expect. His recordings distract you with thrilling acuti from his other qualities. Live, with less volume you get to discover other things, like for instance that his lower register is amazing! It as the best surprise of all, the warmth and the easiness with which his delivers the lower notes. By the way, people talk and give their opinion on his technique. I know not of such things but I can tell you that I never heard him take 1 breath, not even during the most straining passages and his mezza voce was always most beautifully paired with the orchestral tone of all. His must be doing something right and his must know what he is doing! He was an extremely convincing Carlo and there is as much acting talent behind it as there is work. His every gesture was elegant and princiary, there was endless emotion but there was no gesture or singing over the top. His Carlo is in love, desperately so and he is a lonely and week man, however he is not self-centred. Yes love is more important to his character than everything else, but there is nothing wrong with that. It is an interpretation of a very young man. Yes politics interest him from time to time but it is always as a result of Rodrigo’s insistence and his desire to sear purpose in life other than his unhappy love for Elisabeta, it never end up as a driving force. When Rodrigo is gone from his side al strength leaves with him and his acting in the last scene with Rodrigo is very touching. As it is in my second favourite scene, the garden scene with Elisabeth. This is probably the most emotionally charged scene in the performance and it is all due to Rolando, musically and acting wise absolutely perfect!!! I only wish I had a magic rewind button to watch and hear it all over again. He was good tonight,very good indeed and his voice is as good as ever, he pushed it to limits and beyond and it stayed strong. I just wish he didn’t think he needed to push upwards just because he could, it is not what is truly special about him ;-) His tone of voice is very warm and truly lyrical and surprisingly enough live nothing at all like Domingo, young or old. He has his unique sound and way of singing. What I heard was unexpected, but in a good way. I enjoyed it very differently than I thought I would and I look forward to hearing him again, whatever he may decide to sing and play. And I also realised that his impact on stage is the product not so much of his own personality but of his voice, his hard work and dedication to his characters and his singing. He was great and the public rewarded him with much deserved applause. I’ ve heard during the break much bitching about his projection and lack thereof, so called imbalances in registers and other rubbish…but in the end I realised most people there did not pay hundreds of pounds to pick a show, the singing and every note to shreds. Most of us where there waiting for a story to be told and told well and we were thoroughly entertained. He may not be the Carlo of 99% of recordings we have heard but I at least go to see it live to hear something different, equally as good and unforgettable. And that is what I told him afterwards at the signing, that tonight he was king! And I meant it, king of his voice, of all his abilities, king of his character which he sang, played and manipulated to perfection to tell the story of Don Carlo.

The one bit that I knew about the opera, the music, somehow was in the background, but in a good way. Pappano and the ROH were as wonderful as any recording I have every heard and because they delivered on every account what they promised I was able to focus on everything else, which was new. I wish I could hear it again to e able to indulge more in all that music and I will surely be back for the revival, especially if Pappano conducts… I just wish he would kick the director’s but in the autodafe and tell him that “music rules!”.