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Playbillarts, 23 September
2009 |
By Frank Cadenhead |
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Photo Recap: Kaufmann Stars in Luxuriously-Sung Don Carlo
at Covent Garden
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London’s Royal Opera House opened its 2009-2010 at Covent Garden with
Verdi's daunting five-act dramatic opera Don Carlo. Frank Cadenhead was on
hand for a performance of the Nicholas Hytner-staged revival. |
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Photos: Catherine Ashmore |
The
ROH makes staging Don Carlo look so easy. This challenging and complex music
drama, in the five-act 1886 “final” version, runs nearly as long as Wagner
operas and can often seem longer. But this inspired production, returning
from last year and so luxuriously sung, was totally seductive from the
start. September 15 was a triumphant opening night to Covent Garden’s
2009-2010 season.
Munich-born Jonas Kaufmann was recruited and
agreed to sing his first five-act Don Carlo in the spotlight. While lacking
the sunny Italian sound, he more than makes up for this with extraordinary
vocal intelligence and skillful dramatic thrust. Handsome and possessing a
rich and powerful instrument, it is no wonder his appearances create a media
frenzy. Also
warmly received was Russian soprano Marina Poplavskaya whose performance
suggests a major diva has arrived. Clearly comfortable portraying the
conflicted Elizabeth of Vadois, her voice had exciting energy and lushness.
Posa is sung by returning baritone star Simon Keenlyside with bass Ferruccio
Furlanetto as an unapproachably perfect Philip II - a truly noble portrait.
His nemesis, the Grand Inquisitor, was sung by that grand Wotan, John
Tomlinson, taking on this role for the first time. The few lines of Carlos V
were sung by no less than bass Robert Lloyd. American mezzo Marianne
Cornetti was effective as Princess Eboli and could be more so if there were
less “operatic” gesturing.
Returning from the success of the previous year, Nicholas Hytner’s sometimes
angry, sometimes elegant, sometimes playful staging puts the drama center
stage. The political emphasis on the idea of freedom closely tracks the
Schiller’s drama and Verdi himself. With Hytner, the mutual rejection of
absolutism between blood brothers Carlos and Posa has rarely been so
carefully drawn.
The quibbles were few. The carpet of snow in the First Act will likely be
better tacked down in subsequent performances and hopefully the Voice from
Heaven (Eri Nakamura) will be a little less far off stage. Having the
expansive baton of Semyon Bychkov in the pit gave the evening a special glow
and excitement. That, along with the luxurious casting, makes this a revival
of an operatic masterpiece that should not be missed. |
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