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The Telegraph, 24 September
2009 |
Rupert Christiansen |
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Don Carlo at the Royal Opera House, review
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While some details still need sharpening, Nicholas Hytner's Don Carlo
shows the Royal Opera at its best. Rating: * * * *
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Nicholas Hytner’s production of Don Carlo, sung in Verdi’s final 5-act
Italian version, drew mixed reviews when it was unveiled last year. I liked
it more than most, but felt that it would benefit from tweaking.
Although Hytner has returned to Covent Garden to supervise the revival (and
tone down some incidental excesses), that remains my feeling.
The story-line and the conflicts between the characters are lucidly drawn
and Bob Crowley’s sets powerfully convey the oppressive atmosphere of
Counter-Reformation gloom. But the treatment of the auto-da-fe remains
garishly vulgar and ineffectual, and details still needs sharpening.
Finally, Hytner doesn’t offer anything to match either of the opera’s two
previous Covent Garden stagings - Visconti’s, with its sheer visual beauty,
or Bondy’s, with its imaginative psychological insight.
Yet this shortfall doesn’t detract from a tremendous performance, the
musical quality of which outstrips last year’s premiere.
Semyon Bychkov may not be a glamorous or sensational conductor, but he is
the genuine article, honouring the gravitas of the score with wisely
measured tempi and a mature sense of Verdian architecture. The orchestra
played beautifully for him, and the singers floated some delicately
expressive soft passages under his supportive cushion.
The refinement was particularly evident among the three male principals,
whom you’d be hard pushed to surpass. As Posa, a rejuvenated Simon
Keenlyside produced warm, fluent tone and nobly shaped phrasing. Ferruccio
Furlanetto’s Filippo was magnificently implcable in public, profoundly
pitiable in private. And that dream of a tenor Jonas Kaufmann made Carlo
for once the drama’s centre - a boyishly impulsive and introspective Hamlet,
doomed to failure, who sang his Act I aria with a spine-tingling loveliness
and still sounded as good come Act 5.
The ladies weren’t quite in their league. As Elisabetta, Marina Poplavskaya
was in much steadier voice than she’d been in 2008 and rose to the challenge
of her Act 5 aria, but crisper Italian would enrich her interpretation. I
wasn’t mad on the prosaic Eboli of Marianne Cornetti, but she went bravely
at ’O don fatale’, all guns firing.
With a scarey Grand Inquisitor from John Tomlinson, a charming Tebaldo from
Pumeza Matshikiza, a nicely blended quintet of Flemish deputies and a
fresh-sounding chorus, this was the Royal Opera at its best, as the rapt
audience enthusiastically acknowledged. |
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