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.

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

Marianne Cornetti will be Eboli in the ROH Don Carlo

Marianne Cornetti as Amneris and Elena Zelenskaya as Aida Photo © 2001 Ken Howard at www.operajaponica.org

This year's Don Carlo brings with it some new voices compared to the cast of last season . One of them is the American mezzo Marianne Cornetti and Eboli will be her ROH debut :-)

Photo at http://www.musicalcriticism.com

For those of you wanting to know more about her and her career there is an interesting interview over at musicalcriticism.com

She seems to love all those Verdi mezzo roles which are powerful and interesting women, so Eboli should be in good company in her repertoire. And she has some interesting things to say about the ongoing Don Carlo rehearsals: Nicholas Hytner is polishing all those little details and Semyon Bychkov is promising some pianississimo :-)

About the former i am thrilled, i thought there was some really great choreography in the production the first time around and i'd love that to continue this second time round. And if he has another thought about those screaming priests in the auto-da-fé i'd be even happier ;-)))

About the latter i am sure Marianne will not be the only happy one among the singers :-) I'm all for some piano in the right places!

And i expect Mr Bychkov to absolutely nail those duets and ensembles :-) At certain points i wouldn't mind for example Posa and Carlo to meld their voices into one line until becoming ...almost.. undistinguishable :-)

But let's hear Marianne Cornetti sing!

Marianne Cornetti sings La luce langue from Verdi's Macbeth



Thanks to SixtusBeckmesser1 for the video

Marianne Cornetti as Azucena sings Stride la vampa in Parma, april 2006.


Thanks to signorinaermione for the video

Nelly Miricioiu - Marianne Cornetti - Anna Bolena duet



Thanks to coloraturafan for the video

The ROH Don Carlo experiment

Photo from the ROH website

I have a confession to make…

I have decided to conduct a very serious scientific experiment! And while at it improve my knowledge of this complex and admired piece of music :-)

So, after careful consideration, I have decided to attend all Don Carlo performances at the ROH. Yes, all 6 of them… plus the general rehearsal.

And I’ve made sure I sit all over the place to get the best combination of sound and vision for my experiment :-)

Now, before you shake you head in disbelief... it’s not exactly an unusual idea in my case ;-) I’ve seen the Don Giovanni last season 3 times and several other productions twice and years back there is a whole list of productions I have seen 20, 30 times or more.. with different casts of course!

With certain shows it really is worth it to see more than one if you can, so you can slowly and gradually explore every nook and cranny of the music and the production. Or to just see/hear the bits you like most again and again and again ;-)

But don’t worry, I’m not just going to overdose on Verdi this September. I’ll see the Linda di Chamounix, I was even lucky enough to catch a Tristan and Isolde ticket! And I’ve got things planned at the Wigmore Hall and the Barbican. If you will, I’m having a bit of a musical celebration of my first year in the big city :-)

It might sound like too much indulgence, but I worked myself knackered over the summer and have decided to have a bit of vacation in the city instead of a summer holiday on he beach. Just stay home and enjoy the treats on offer ;-)))

So, as far as I’m concerned… let the experiment begin!