Reminder: Don Carlo ROH, Saturday BBC Radio 3

Update: the microphones were stuck to the border of the stage, above the orchestra, that is why you can at times hear the orchestra, especially horns, flutes etc and percussion louder and you can also hear Simon's decided steps ;-))) And Jonas singing from Popy's lap as if he was singing into you ear...

Gorgeous isn't it? Ahhhhhhhh..... reliving it exactly as i remembered it ... http://operaismagic.blogspot.com/2009/10/don-carlo-roh-from-heart.html

Can't wait for the La pace dei sepolcri!!!! ;-)
PS BBC stream seems to be good and holding up to the international "attack" ;-)



Photo: Catherine Ashmore Marina Poplavskaya (Elizabeth de Valois) and Jonas Kaufmann (Don Carlos)

On BBC Radio3 at 18:00 UK time ; 19:00 CET (Germany, France, Belgium, Spain, Austria, etc), 13:00 US East coast (New York), for other locations and times, this is a useful site.

On the BBC Radio 3 page, there are also some longer interviews with Semyon Bychkov and Jonas Kaufmann, to listen click HERE (there is also some more information as well as pictures).

For those who couldn't listen to the JK interview on line, here it is:

To listen tomorrow evening to the broadcast on the internet click HERE or HERE.

To listen with surtitles click HERE.

Don Carlo ROH ...from the heart

photo Catherine Ashmore at musicweb-international.com

Ohh Carlo…..

How do you put so much music into words without exaggerating, without leaving important things out and without boring everyone to death… I suspect I’ll become one of those old grannies who will forever pester her grandchildren and everyone else she meets with the story of the Don Carlo she once saw… and nothing will be quite like that Carlo she saw in her days :-)

Of course every performance is unique in its own way and maybe many are worth seeing and some even remembering for a long long time… But we probably all have some recordings at home which leave us wondering what it must have felt like to be there, what did the public think when they listened to it live? Did they think 20, 30 years later or more people would think it special, reference it and constantly compare others to it? I’d love to be able to go back and sit through one of these and compare the feeling to the one I’ve had during this Don Carlo run. And apparently I wasn’t the only one thinking that this was not just your good performance of the week, or the season. I’ve heard many people around me say that it is the best they have seen, or rave about how extraordinary x or y was. The overall smiling faces at the exit also confirmed the kind of festive feeling the evening had surrounding it. It’s not that usual to see smiling faces after almost 4h and a half hours of opera, especially when the most loved characters end in brutal death :-) And still this tale of love, betrayal, freedom and politics left many elated. It also seems the word spread during the run that this is a must see thing, as many famous faces were sighted in the hall ;-) Even singer colleagues travelled to enjoy it.

Having said all this …. I am reluctant to be so definitive about things that I see, because it always is a personal view and my criteria may well be different than other people’s; besides this is not about giving out titles and prizes. So I will rather stick to this:

They have been of the performances I have most enjoyed over all the years I have been seeing opera and will definitely be of the ones I will never, ever be able to forget. Musically this cast and this orchestra and this conductor have revealed so many new facets of this piece, I am grateful for being able to see all performances! It has been a very very happy time, more so than I even expected and the feeling of joy was increased by the feeling that every evening I shared the “buzz” with people surrounding me in the audience. What more can I ask from going to the opera than being given these short, but unforgettable moments of happiness :-)

In a piece where I heave learned to love every single note it is hard to single out those which are “extra special”… I’ll try to mention a few, but wouldn’t be surprised if I ended up retelling the whole opera ;-)

So, I loved…


Jonas doing the softest little trills on “Benedici un casto amor” in the first act and the audience on the last performance remembering that is was his only aria and giving into the impulse of applauding him…

Popy and Jonas really bringing out the fresh chemistry in the first duet; it felt like the perfect carefree young couple freshly in love….

Jonas posing as if in the portrait he has just given Elisabetta and making the audience giggle very single time and then bursting into the “Caaaaarlo son ioooo... e t'aaaaaamo!”…. ohhhhhh….

Pumeza Matshikiza well sung and lively Tebaldo, she definitely was a sparkling stage presence :-)

Robert Lloyd for being part of this production and lending the ghost of Carlos V that world-weary and at the same time peaceful quality

Simon and Jonas for delivering my favourite “Dio, che nell'alma infondere” ever !!!! especially the retake in piano is the most touching and musically stylish I could have imagined. I am grateful to both for putting all their singing and acting skills into creating the friendship bond between Rodrigo and Carlo on stage. It was natural and warm and very touching. Of course there was general choreography, but in all the times I have seen it there was never a gesture that seemed purposely placed or born out of anything else than live interaction. It actually was different every single time and made it exciting to go and see what they come up with or end up doing on the night. Which doesn’t mean I didn’t find the fist on chest thumping just a tiny bit funny… I know it fits the plot and it ties the friendship and Flanders and it is an encouraging gesture, but grown men doing this kind of exaggerated gesture today do look a bit odd :-)

Simon “handling” the court ladies and their curiosity in a most elegant and clever fashion. After the first performance I was waiting for the “D'un gran torneo si parla già, E del torneo il Re sarà.” like for a piece of candy... Verdi must have really loved Posa’s character, because there is not a note he sings that isn’t delightful! And Simon’s slightly annoyed smiles while responding to Eboli were priceless :-)

Popy delivering with dignity and total regal air “Un favore chiedete alla Regina.”

The whole duet between Carlo and Elisabetta in the garden.. from the “Io vengo a domandar grazia alla mia Regina” to the “Ah! maledetto io soooooooon!” Here like in the duet Rodrigo/Carlo each performance brought something new and the interaction became increasingly natural. I love every note, every word of it… Jonas burnished and finite tone in “Mi volsi a un gelido marmo d'avel” and the desperate dip into the fountain , Popy’s equally emotional “Perchè, perchè accusar il cor d'indifferenza?”, Jonas singing the most unbelievable “Perduto ben, mio sol tesor, Ah, tu, splendor di mia vita” (especially that last viiiiiiiiit-aa somehow touched you straight in the heart), Popy singing ever so softly over Carlo’s head in her lap “Ahimè! Il dolor l'uccide... /Tra queste braccia io lo vedrò Morir d'affanno, morir d'amore... /Colui che il ciel mi destinò! ” and Carlo coming back to his senses in a lost piano and then in an emotional outburst on “Elisabetta! tu... bell'adorata” while trapping her within this arms and Popy bravely resisting :-) and pulling herself proudly up in the “Compi l'opra, a svenar corri il padre/Ed allor del suo sangue macchiato /All'altar puoi menare la madre.”. You have to admire a woman and singer who can deliver those lines with such willpower and despair at the same time.

Sparks flying in the confrontation between Rodrigo an Philip … it was never any other way than heart-stopping and riveting. I almost stopped breathing every single time and the gradually darkening lights to intense red perfectly accompanied the tension… which was for me absolutely explosive when Simon delivered the “Orrenda, orrenda pace!(deathly silcen) /La pace dei sepolcri (buuuummmm!!!!!)O Re, non abbia mai di voi l'istoria a dir:Ei fu Neron! (in chilling voice)” aaahhhhhh, amazingggg!!! Simon’s exaltation in the delivery of the aria ending in “Date la libertà!” and Furlanetto’s amazingly shaded, varied depiction of the king with his deeply ingrained convictions of reigning through fear and death, his admiration of the idealist, his well meant warnings, his doubts regarding the Queen, every gesture perfect, nothing too much, nothing too little… “La morte in questa man ha un avvenir fecondo.” The whole weight of the world is lying in his voice and words when the king says “O strano sognator! Tu muterai pensier,Se il cor dell'uom conoscerai,Qual Filippo il conosce!” Up to that last gesture which is looved and waited for where he extends his hand to be kissed and then almost seems to want to caress Rodrigo’s hair and in the end decides to do neither... The whole play of voices and words, of piani and forte or covered darkness and open sounds… so much to see, hear and feel in something over 10 minutes.

Back to the “lovely” things in life … Jonas saying “A mezzanotte al giardin dellaRegina sotto gli allor della fonte vicina… È mezzanotte” with so much lightness and youth fullness that you can’t help being touched but Carlo’s forever hopeful soul :-) Simon almost dashing out of Carlo’s arms after Eboli with drawn dagger …scary that one. I liked the fact that it was physically challenging, there wasn’t any mock fury, the struggle, pulling and pushing was all real.

Verdi’s genius in creating the terzetto started by Eboli with “Trema per te, falso figliuolo” it takes a really good orchestra, an excellent conductor and 3 great singers to pull that one off with such punch!

Then the next bit of Carlo&Rodrigo interaction with the “A te! All'intimo del Re...!...Sospetti tu di me? ...No; del mio cor sei la speranza. /Questo cor che sì t'amo /A te chiudere non so. /In te riposi ogni fidanza; /Si, questi fogli importanti ti do. Io m'abbandono a te ......Tu puoi fidar in me.” Incredible! The contempt in Jonas “Intimo del re” and Simons shades of anger, disappointment, disbelief and hurt in “sospetti tu di me?... di me? ” On one night he actually shoved Jonas hard ;-) and that heart felt hug at the end… ahhhh and yes, the fist on chest thing again :-)

The bells going round the house before the autodafe , the Flemish deputies choir and the looks exchanged between Elisabetta, Philip and Carlo in this scene

Furlanetto’s “Ella giammai m'amò...!” , the very very very best today, no doubt about it. The setting for the scene is perfect, every single word and turn of voice fits every word. It never felt like singing of certain known phrases, but like what it really should be ... an intimate confession. You are held captive by every word and although long and intricate it always felt over in a second. Grazie maestro for the understated, elegant and exquisite demonstration of what a wealth of experience, talent and a wonderful voice can do in this role. Regal in every aspect :-)

Rarely in an opera are political conflicts so ironically and effectively presented like in Don Carlo, and the “chat”between the Inquisitor and the king is an excellent example thereof. I’m going to stop myself from citing the entire libretto from it, although I honestly think I would enjoy it even if the muppets sang it! Luckily, not the case here :-) I do have my favourite words, shreds of music even here : the Inquisitor saying “Le idee del novator in te son penetrate!” and of course famous almost last words ;-))) “Perché evocar allor l'ombra di Samuel? /Dato ho finor due Regi / al regno tuo possente...! /L'opra di tanti di tu vuoi strugger, demente! /Perchè mi trovo io qui? /Che vuol il Re da me?/” “Santa Claus” Tomlinson was really scary here and I felt an incredible chill when he said in his deep, hot-as-the-flames-of-hell voice the last two lines, finite and like a unmoveable death sentence. You can hear in these deceptive words all the crucial decisions he has made and that this will have consequences, and not of the happy kind. Bravi!
I love the next scene between the king and Elisabetta just as much, and a little bit more for Popy than for Furlanetto ( not that he wasn’t great, it needs two for this martial drama to unfold). But Popy was here every single time better and better and a true French princess and Spanish queen. There is incredible strength of character and power of expression in this young, slender, elegantly pale singer and you can’t help but feel proud of her in this scene. Her “Io l'oso! Sì! /Ben lo sapete. Un di promessa /al figlio vostro fu la mia man; /Or v'appartengo, a Dio sommessa, /Ma immacolata qual giglio io son. /Ed ora si sospetta /L'onor di Elisabetta...! Si dubita di me... /Chi m'oltraggia è il Re!” I like it so much that she isn’t just the unjustly accused, but the whole weight of her acknowledgment of her destiny, duty but also status comes through. Overall I really liked Popy’s gutsy Elisabetta, no meek, oppressed women, but a real queen, even though a deeply unhappy one. And Furlanetto’s king is frighteningly out of control in his “Ardita troppo, voi favellate! /Me debole credete e sfidarmi sembrate: /La debolezza in me può diventar furor. /Tremate allor, per voi, per me.” Another one of those many moments which make your pulse race…


Posa’s death scene…really hard to describe, because this too was born again every single time… I’m dangerously close to thinking that I’ll never see another Posa dying more beautifully and realistically in the arms of another Carlo… I had a big knot in my throat already when Posa sings “Felice ancor io son se abbracciar ti poss'io!”… And I like that this particular Carlo doesn’t take that long to understand what Rodrigo is talking about, you feel his stupor and dread already at “Convien qui dirci addio!”. I’ve rarely heard a voice as sweet at that of this Rodrigo telling Carlo not to cry: “Ci congiunga Iddio nel ciel, /Ei che premia i suoi fedel'. /Sul tuo ciglio il pianto io miro; /
Lagrimar così, perché? /No, fa cor, l'estremo spiro /Lieto è a chi morrà per te.” And that last word held on a seemingly endless tone while touching their foreheads... It almost felt like the connection between the two singers gave their joint force to the phrases. After the gun shot the last performance gave the perfect ending to Rodrigo’s life as well. The choreography of this scene has always been brilliant, but given the circumstances must be really hard to execute because both singers are facing the audience and supporting a dying Rodrigo or holding his hand while not really facing each other is not easily achievable without it looking awkward. Thursday they both fell with perfect coordination and without even exchanging a look on their knees, where Rodrigo tells Carlos Elisabetta is expecting him in the monastery and gradually falls in his arms while dying. Carlo supports him partially so that singing doesn’t become an act of torture while resting his head crying on Rodrigo’s shoulder. At the right time according to the text he extends his arm to grab the one extended by Rodrigo and when he finally dies “Ah! ... di me... non... ti... scordar...! “ Carlo gently slides Rodrigo to the floor, while holding his head so that he doesn’t end up bumping his head on the stage floor, making sure he doesn’t role into a position that he would either not look lifeless or which would be impossible to hold until the soldiers lift his body up. It really takes these two to pull something like this off, unspoken coordination and attention and consideration for the colleague and all this while singing and listening to the text as if having a conversation in a lunch break. I really can’t thank Simon and Jonas enough for the faultless singing in this scene as well as for all the efforts made to create it anew every time and make it absolutely beautiful and heartbreaking to watch.

Almost the end, you’ll be happy to know :-)

Popy huuuge aria in act 5 is something for which she deserves many many Bravos. I am not a big fan of long soprano arias, not even with Verdi, but she worked and worked and worked on this one until she too managed to fill the hall with only absolute silence and her voice. Although a certain tenor would certainly love for the old forgotten Verdi aria here to be reborn.. I wouldn’t want to miss this one… ideally I would have them both ;-)))

The final duet Elisabetta/ Carlo is almost as beautiful as the one in the garden scene, and even sadder if possible… and if you are not yet under the spell of those magically spun piani, this will get you there for sure! I really felt my heart soar on the “Si, con la voce tua quella gente m'appella./E se morrò per lei, la mia morte fia bella!” and just dissolve at “Non vedi, Elisabetta! /io ti stringo al mio seno, /Nè mia virtù vacilla, /nè ad essa io mancherò! (desperate!)/Or che tutto finì /e la man lo ritiro dalla tua man, /Tu piangi? (of course she does, who wouldn’t????)”.
Of course there is the killing and the excellently choreographed swords fight, however for me it could end ethereally and oh so sadly on their intertwined voices singing: “Ma lassù ci vedremo in un mondo migliore, /Dell'avvenire eterno /suonan per noi già l'ore; /E là noi troverem nel grembo del Signor /Il sospirato ben che fugge in terra ognor!/In tal di, che per noi non avrà più domani, /Tutti i nomi scordiam /degli affetti profani.”... Brava Popy for holing her own in the piani and those who haven’t heard Jonas sing them, you have to try and catch him do it!!... you have no idea what you are missing :-)


Fine.

Tears with Tristan und Isolde at the ROH

Photo Bill Cooper at musicalcriticism.com


You all know by now I am a sap and prone to sit teary eyed through opera performances :-) No news here…However, last night’s Tristan und Isolde was to be a different kind of experience.

Today I am not on friendly terms with Mr Wagner! Not at all… but fear not, it is just lovers’ quarrel… I’m sure I will forgive and forget pretty soon :-)

This was my first Tristan und Isolde live and I feel shamelessly privileged for this to have been it! There might be better recordings as I am sure people will point out, but last night was enough to leave me with a memorable experience of it.

Strangely enough it wasn’t the music in itself that moved me to tears, or the story (not during at least) ..it was the final applause and my seat neighbours. The lights in the House went out but I could still make out the shadow of a slowly moving Nina Stemme who helped Ben Heppner up from the stage floor and holding hands they slowly approached the stage edge. The lights went on and they were showered by Bravos and applause among which they shared a warm hug. At which point I cracked under emotions :-) I sniffled my way through all the applause and am happy to say even hoarser than the performances last week left me. Among the boos for the production team the young women sitting next to me asked me: why are they doing this? I said: I have no idea, I guess too modern? She said: Ah, probably… have they not seen it before? Me: No, this is the premiere night. Did you like it? She and her boyfriends said in one breath: Oh yess, very very much! All I could do is nod and smile and quickly look away so they wouldn’t think I must be crazy for crying just then :-)

I’ll explain…

First about the neighbours… they were very clearly first time opera goers and very much in love ;-) Some date, ah? Opera, Wagner, Tristan und Isolde in a minimalist and very atmospheric production, all in German! There can’t be any more proof in the power of music than this! They had very cheap seats, we were all perched up in the lower slips, with a hand rail in front, luckily on the right side of the production so we had the privilege to see the singers all the time. All through the first introduction she was munching on a sandwich from a pretty noisy plastic bag. I though… o God noo, why mee!! Expecting the worse of the night, of course…. However as I was saying they were extremely quiet and watched and listened for 5 hours , half embraced or holding hands to Heppner and Stemme singing the story of Tristan und Isolde. And as you now all know, they absolutely loved it :-) Forgive me therefore if I think this is really romantic and somehow magical :-)

And I had one of my secret wishes fulfilled at least last night. .. have young people come to the opera and absolutely fall in love with it! Those two will be back, I know it!

Why the applause moved me so much? Or rather the singer’s reaction to it? Because I simply think that any singers who gloriously make it through this opera like Stemme and Heppner did last night deserve…. I don’t know what… but something beautiful and wonderful! Because they are survivors!

Which is where I come to my love-hate relationship today with Mr Wagner… what was he thinking??????? Yes, the music is beautiful and especially in the piano bits there are some instrumental solos to die for and be born again! But did he really think singers could get through this score unharmed? Did he ever try to sing it himself? My guess is no… I’ve never before had the sensation when listening to opera that I was witnessing sacrifice , last night I did. Nobody can tell me any singer gets through a Tristan und Isolde unharmed. I understand why they would wish to sing it and why this piece is performed, but I realise what it costs. It’s horrendous really come to think of it. I don’t think the story requires young singers, the intensity of love can be portrayed more convincingly in a more mature stage I life I think, however you need a fairly strong body to get through this. These are parts that will leave scars on your voice and possibly put an end to your singing. Yes, I know there are financial rewards that come with it, but I don’t believe singing like last night’s can be induced by any cheques.

It is a strange piece, I don’t think the libretto is a strong in characterisation like for example the one for Lohengrin. The music is grand and tender and sophisticated but also cruel and ruthless. Scenes are stretched over hours and singers are chained in the middle of the force of the orchestra in the most emotional passages. There is of course the argument that the story can be told in 3 hours rather than 5…. But seeing last night’s performance I wonder if the physiological impact would be the same. At the end of the day the potion induces irreversible and unfulfilable longing, which may only find relief in death. The ending cannot be believable unless you get to feel the intensity of the longing. It has to feel like torture to some point and in 5 hours the impact is achieved.

I think the hardest part is creating the story, making the emotions believable , outside time and almost outside the score. Trying to deliver more than the music, or making the music good enough to let the meaning flourish from within is what this piece needs to come alive. And last night it did!

I haven’t seen either Nina Stemme or Ben Heppner before so I can’t comment on how good they are as actors in general, but they fully inhabited Tristan und Isolde last night. I know people will find weaknesses in the singing ( maybe more with Heppner) but I think that would be unfair. From the very beginning there was a sense of purpose to every phrase, restrained emotion in every step, in every gesture. Even their embraces where touching and transmitted a very believable sense of longing and caring. For me there wasn’t one awkward moment during the 5 hours. I can’t say what was choreography and what was actually Heppner and Stemme becoming Tristan und Isolde. Whatever it was it worked! As to their singing she is absolutely glorious and the voice carries all the power and decision, engagement and pride one would wish from Isolde. Heppner’s voice does show what singing this part does to one, but it is still very very musical and beautiful to listen to and the ever so slight wobble for me is negligible. There weren’t any really harsh parts that I could say bothered me significantly. I am just left wondering what his voice might have sounded like before he sang the part… I can only say I greatly respect and admire him for what he still does with Tristan today.

The other total musical pleasure of the night was Michael Volle’s Kurwenal! A voice equally as warm and as powerful, who rode the orchestra with apparent ease and who created a very believable and engaged portray of a friend. His applause was very well deserved and I really hope we will see him on the ROH stage more often!

Sophie Koch as Brangane was good, but I can’t say I really warmed to either her voice or the character. But it could be due to the character itself, I find Brangane a bit one dimensional and slightly irritating, her only purpose seemingly being he exchange of the potions. John Tomlinson is a better Inquisitor than he is the King Marke, I have to say I missed Matti Salminen here. His king was as a character all he should be and for that he deserves Bravos, it is the voice I’m afraid that just can’t really fill the part anymore.

Pappano once again put his artist fingers on the orchestra strings and managed to convey both the grand and the delicate. He deserves many praise for mastering both the frightening waves and the soft caresses in this music, he showed how beautiful the score is and put another building stone in my appreciation for Mr Wagner and for that I am grateful.

Then there was the production… not at all deserving of booos in my opinion. I don’t know if I love it without reserve, it can be a bit hard on the eyes as very static all over the 5 h stretch. But it does work in creating the appropriate mood and convey the infinite longing as well as the desire to escape into death. What I absolutely loved was Olaf Winter’s lighting, magnificently atmospheric! I think the staging worked with Stemme and Heppner, I am not so sure lesser artists can carry the weight of the grey wall and grey stage floor and simplicity of black clothes as convincingly. The gymnastics around the table in the last act I felt were superfluous. A second chair instead of the table would have done the trick and would have required less effort and concentration on such detail in this most difficult of acts for Tristan. But it is a minor detail, which can be ignored. The blood bath in the end was eerie, but worked, as did the static almost still life images of people in the banquet background.

I don’t know what people want or expect of a Tristan und Isolde staging. It is not like any of the details of place and time really matter to the story. What would more clutter add? Nothing. It would of course add props to support singers in not doing anything else than sing it through. Forgivable in this score. I find this minimalist version more touching and effective, even if it required that extra something from the singers. It can only hope that in future revivals the cast will be able to do as amazing a job as the one I saw last night. Simply unforgettable!


Tristan und Isolde
Tuesday, September 29 5:00 PM
Composer Richard Wagner
Director Christof Loy
Designs Johannes Leiacker
Lighting Design Olaf Winter

Performers
Conductor Antonio Pappano
Tristan Ben Heppner
King Marke John Tomlinson
Isolde Nina Stemme
Kurwenal Michael Volle
Brangäne Sophie Koch
Melot Richard Berkeley Steele
Sailor Ji-Min Park¤
Steersman Dawid Kimberg§
Shepherd Ryland Davies


Nina Stemme Interview at musicalcriticism

Guardian article on Isoldes

And the reviews:
Telegraph
Independent
Times
Musicalcriticism
This isLondon
The Stage
Music OMH
Whatsonstage
Classicalsource
WienerZeitung

Intermezzo
TTTC
Boulezian

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 :-)

Don Carlo ROH

Photo from the Times online Catherine Ashmore


Update - a rare treat - Simon Keenlyside interviewed by MusicwebInternational!


I keep getting one alert after the other reminding me that I am in the middle of my experiment :-) Now if the ROH software which sends out the reminders would only know!! They’d save themselves a lot of bytes by saying: Here is your summary reminder for this month, we hope you will enjoy your run and thanks for your business ;-)

Since there will probably be more posts on the Don Carlo I’ve decided to talk about the production at a later stage and focus more on the musical bits in this first one.

It is hard to define what this Don Carlo is like and I didn’t want to comment just after the general rehearsal, since things might change and first impressions are not always the last as well :-) I don’t know where I will end up at the last performance of the run, but at the moment the journey there is fascinating. I’ve rarely, if ever, felt so engaged with a piece. The GR felt extremely long and complex, not in terms of actual physical time but in terms of density of story, characters and music. After the second take the work is more and more like a dark, mysterious black sea… that calls out to you, draws you in and traps you in its waters.

It is so intense it takes some time to disentangle oneself from the four and half hours of Verdi score and so far, getting to know the work better has only meant its spell has grown stronger rather than weaker. It is not like I wasn’t familiar with it from recordings, but live it has become a much more challenging experience. Perhaps because of all of Verdi’s works it is here where the characters are defined to the greatest detail. The music supports and shades the characters as well as the story line. The music colours itself to suit the character on stage but also to point the way of their destiny. It is both varied and tightly knotted around central lines. Characters are clearly build into the story and although driven inescapably towards their individual destinies, there is enough space around them for their personality to be revealed gradually. Each character trait discovered, each side of their personalities revealed ties them only closer into the net that is insidiously spun around them. In spite of the considerable pace of the rush towards the abyss there is a sense of balance in the work that I think comes mainly from the almost equal weight given to each player in the piece. Each scene progresses the story, but also completes the picture and gives enough variety to keep one permanently engaged and breathless.

For me this run is a particular happy case in that we benefit from gorgeous voices, which are never used to display vocal technique alone , but become the expression of the person they are inhabiting and are doubled in most cases by considerable acting capabilities and commitment to become the character, not just play it.

I have been tempted to read a number of reviews that have been written about this and production controversy aside, Semyon Bychkov’s conducting seems to split the reviewers. Technical knowledge aside that I sadly don’t possess, this is how the music felt to me these nights: The orchestra is in excellent shape and however this particular sound is obtained, to me it feels incredibly natural. Not in the sense that this is the most logical take on the score (… who knows what that is?) but in the sense that the music is truly alive! It is like a spring born at the first notes that grows, flows and blossoms naturally in every following note. I don’t know if this is a too academic or cerebral interpretation as some have said, the effect is certainly emotional, more than anything else. There is no particular sense of surprise, but definitely one of inevitability, of development and evolution in the music. Like a living thing that transforms continuously around you, with new colours continuously unfolding after each phrase. It’s not a comforting feeling, more like being trapped in a huge jungle plant, which closes its stems around you. It let’s you breath but will not let you go until it dies naturally, just as it was born.

I don’t know if this will be the version of Don Carlo that I will like most over the years, but I am certain it is the most touching and engaging I have ever experienced. It has brought me closer to both the music and its incredible variety as well as to the characters and their story. Giving the libretto a renewed read I have discovered how beautiful it actually is, in this case to no little extent due to the fact that most singers (particularly Jonas Kaufmann, Simon Keenlyside and Ferruccio Furlanetto )have excellent diction and each word is full of meaning.

Another reason why I am so taken with this Carlo is that it is different! There is little if any of the classic belt it out style of most interpretations. I’ve never heard so much of this opera sung in piano and with so much care. There is so much human suffering and doubts in this piece, why should the heroics prevail, when they clearly lead nowhere? Which brings me back to some critics raised about the apparent restraint in this retake….These come more than obviously from comparison to the previous version of this production and also from prejudices about the current singers. It always puzzles me how people think that there is only one right version of interpretation. Why can’t different singers have different takes on the personalities they are supposed to give life to? Each see them in a different light and filter their interpretation through their own personality. I have seen both and both have touched me, why not? That is what makes a revisit interesting for me, how does a different singer interpret his part, how will his singing reflect his interpretation, etc. Otherwise what would be the point of seeing a live show? I’m obviously talking about Rolando Villazon’s and Jonas Kaufmann’s Carlo, different in voice and gesture as they two are different as artists. Which you prefer is obviously a matter of taste, I still don’t see a valid reason why one can’t actually like both…

Besides repeating complaints about the production already aired one year ago ( I guess we will be revisiting those with every new revival… how... boring!) there were the obvious preconceptions about the singers: Simon Keenlyside is not a Verdian baritone… how many times have I read that now? Jonas Kaufmann is a German tenor with an unsually dark voice. Yep, that one we’ve heard before as well. The mix of the two was obviously deemed unsuccessful before they even uttered a note.. at least by some. I have to say this “pairing ” is probably the thing that delights me most about this production! Verdi baritone.. what is that? A booming voice? Now where is it noted in the score by Verdi that we need to be left half deaf by a deep dark voice ? Same goes for Carlo, who says what kind of voice the tenor must have? All Verdi said was what notes he was supposed to sing and how. As long as both tenor and baritone can do it, well then it is a valid pair of Posa and Carlo! I knew the "too dark tenor + too light baritone" was just around the corner… but has anyone actually opened their ears and listened to the two sing together? As if they have never heard the duo before? This duo as pictured in the story is that of a deep friendship of two young people who have known each other since childhood and who are deeply fond of each other. They share common ideals, albeit one is more romantically “disoriented” while the other more “practically focused” ;-) So their leitmotiv, their duos should be about shared harmonies and feelings. Remember only one of the them is a soldier, the other just a dreamy idealist. The common ground they find is in their ideals and their fondness of each other. So there is no reason why each encounter should be punctuated by displays of heroic fortes… So why should JK and SK not make wonderful music together? Why when they so obviously share common musical tastes and style, when they are each refined and accomplished artists. Yes they have similar singing styles and their voices are maybe from the timbre closer than other two artists. But in this particular case this is a major advantage, by no means a reason for critique. That their display of Posa and Carlo is more subtle, refined does not mean that it is any less powerful, quite the contrary, there is immense intensity in subtlety. I liked their take on the 2nd act duo at the premiere, but I absolutely loved the one at the general rehearsal!!! If I had my wish I would want to hear that duo, sung partially in the most tender piano, again and again and again… I do hope they will go for that more sensitive version again! It was divine!!! Now those are two singers who have mastered the piani to perfection! And I have never heard a tenor and baritone fall so naturally in sync in this duo, with as little as a side-glance, it was a glory of harmony rather than a display of competitive force :-) More appropriate for two friends, wouldn’t you say?

And when music and singing achieves such beauty it is impossible for the soul not to be touched. Who says you have to force your way into the audience’s heart????
On that note, many reviewers don’t even bother to mention the audience reaction on the premiere night for example… Roars like that night come seldom along at the ROH, at least from what I have seen. Neither Carlo nor Rodrigo were ever interrupted in their duos ( wonder if it wasn’t because the audience was too touched by the singing and music to barge in, hm???) but the applause came crashing down on both at the end, very deservedly so! Ok, you might dislike production and even conducting might be controversial, but I feel it only fair to say the audience at the ROH liked it very much.

But it is an extraordinary night out not only due to these two, Furlanetto IS Filip, in such a powerful way that he almost sings the Inquisitor ( J Tomlinson) off the stage, Marina Poplavskaya has obviously had a wonderful positive development since last time and has grown into an altogether more natural Isabella, Marianne Cornetti is an effective dramatic Eboli and they all boost each other to create what is an unmissable evening of Verdi!

By the way, since it has been pointed out repeatedly that this is subtle, restrained, etc performance DO take you opera binoculars with you!! You wouldn’t want to miss out on those details others have obviously not observed , would you? So what if you sit front row?.... I assure you those white lacy collars are fascinating!!! And there are some stitchings on the costumes ..amazing!!! Who cares what others will think of it? These are some beautiful costumes that don’t come around that often and those swords are definitely worth admiring from up close… after all, it is about enjoying oneself and not missing out on anything worth taking in… so go ogle!! And come back and share your impressions if you will ;-)

PS The other night i went full of expectation to see the ROH shop window display and what a dissapointment! No recordings of any DC in the window, none with CDs of the singers and at least two have recent CDs.. I understand contractual obligations with sponsors... but really there always was at least a corner dedicated to the current piece performed, and after all this is the opening of the season!!! ....

Reviews! ... knock yourself out if you will , i've done my homework so to speak and this was as pleasant as homework can be...

New- Times (H Canning)
DailyExpress
MusicwebInterntional
Independent
Times
Guardian
Thisislondon
FT
Musicalcriticism
Musicomh
TheStage
Whatsonstage
Classicalsource
OperaBritannia
Intermezzo
TTTCritic