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Evening Standard, 16 September
2009 |
Barry Millington |
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Don Carlo is saved by soaring harmony
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When
Nicholas Hytner’s Royal Opera staging of Don Carlo was new in 2008, some
felt it fell short of the classic production Verdi’s finest grand opera
demands.
There have been a few cast changes this time round, sometimes to good
effect, though it’s still possible to feel shortchanged.
The new Carlo, Jonas Kaufmann, is certainly not a disappointment: his
ringing, ardent tone and rugged good looks win all hearts. Marianne
Cornetti as the new Princess Eboli brings tonal weight if a slightly
measured delivery to her great aria “O don fatale”.
Also new is John Tomlinson: a baleful, formidable presence as the Grand
Inquisitor. Marina Poplavskaya, though familiar with the production, took
time fully to inhabit the role of Elizabeth of Valois, but she rose
magnificently to her big Act 5 aria: impassioned but with a hint of
vulnerability.
Simon Keenlyside similarly won a deserved ovation for his intense, animated
reprise of the role of Rodrigo, as did Ferruccio Furlanetto for his Philip
II.
No Verdi opera has more soaring melodies or stirring harmonies, and Semyon
Bychkov, new in the pit, was superb both in his highlighting of detail and
in his heart-swelling delivery of the many passages of high-flown nobility.
Hytner’s production, though closely observed, rarely lifts one out of one’s
seat in the same way. Bob Crowley’s ill-conceived designs do not help. The
auto-da-fe, with its fanatical, bloodthirsty crowd of onlookers, is chilling
but played out in front of a vulgar, impossibly gleaming, gold-encrusted
cathedral façade. Nobody expects the Spanish Inquisition to have such a
tacky home base.
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