, 21 May 2013
By Alexandra Coghlan
Verdi: Don Carlo, Royal Opera House London, Mai 2013
[Wozzeck; ]Don Carlo
[ENO, London Coliseum; ]Royal Opera House
Tragedy is a great equaliser, uniting opera’s paupers and princes and levelling the class divide in a volley of blood and betrayal. At the Royal Opera House this week Verdi’s Don Carlo – a drama of kings and empire – has hoisted the black flag high, while English National Opera have hustled their audience into crack-dens and council-houses for Berg’s bitter gutter-parable Wozzeck. A classic revival and a new production, a lavish visual spectacle and a brutalist bit of social realism – Don Carlo and Wozzeck share nothing except a core of violence whose ferocity still shocks.....
.... Feeling isn’t an issue in Nicholas Hytner’s 2008 Don Carlo, revived on this occasion by Paul Higgins. Bob Crowley’s stylised, insistently red, black and gold designs frame the action with symbolic emphasis, adding to the monumental quality of Verdi’s epic. And if they teeter on the edge of excess in the violently gilded auto da fe, or threaten to tip over into baroque self-congratulations in the marbled splendour of Carlos V’s tomb then it only serves to raise the stakes on the emotions which must equal these visual for sheer volume.
Don Carlo lives and dies with its cast, and what a cast this current iteration has on offer. Even the absence of soprano Anja Harteros (who pulled out after opening night) doesn’t diminish its attractions, with Lianna Haroutounian bringing a girlishness, a dramatic vulnerability to Elisabetta that Harteros, in her vocal peerlessness, could never quite achieve. Acts IV and V put Haroutounian to a test no less daunting than that the heretics faced a few scenes earlier, and she rises with unobtrusive skill to the occasion, never losing the role among its technical demands.
It helps that she is partnered with Jonas Kaufmann’s Don Carlos, perhaps the best singing-actor of his generation, and a tenor who opts for vocal colour over force every time – crucial in this slow-burn tragedy where the minutiae of emotion need to be felt to keep the screw turning act after act.
Eric Halfvarson’s Grand Inquisitor is a glorious grotesque, waddling and oozing his way across the stage to Verdi’s vivid musical accompaniment, and bringing the horror to balance Mariusz Kwiecien’s gallant Rodrigo. Only Dusica Bijelic’s page Tebaldo blots the elegant vocal patterning of this cast, blurting rather shrill at the top, and never quite settling into a happy relationship with Pappano’s orchestra.
Don Carlo is an opera of extremes that must all be kept in balance if it is not to topple under the weight of its own excesses. Pappano is a master of controlled-impetuosity, ordered chaos, and is his instinctive, paradoxical feel for Verdi’s score that coheres this revival. You’ll be harrowed and hurt by an evening spent with this Don Carlo, but wonderfully so. Terror – eye-opening and mind-expanding – is the order of the day at both ENO and the Royal Opera this week, but what a way to face those Gothic ghosts.