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The Operacritic |
by Colin Anderson |
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Bychkov finds the Russian in Verdi
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Performance 18 September 2009 |
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This first revival of Nicholas Hytner's production of Verdi's Don Carlo
(performed in the 1886 five-act Italian language version) is now conducted
by Semyon Bychkov. Antonio Pappano led the original run in June last year.
Bychkov brings urgency, naked dynamism and heart to the work, securing fine
and weighty playing but sometimes choosing tempos that are too fast, notably
in the 'oath of allegiance' duet for Don Carlos (Jonas Kaufmann) and Rodrigo
(Simon Keenlyside) that was here under pressure rather than opening out
gloriously. But there's an edge, too, that is welcome, Bychkov bringing out
a Russian side to this score (Mussorgsky in particular) that is convincing
and, towards the end of this epic setting, finding a Tchaikovskian soul that
is very affecting.
The mention of Keenlyside confirms that many singers retain their previous
roles. As Rodrigo, Keenlyside has deepened his portrayal and commands the
stage; as Elizabeth of Valois, Marina Poplavskaya remains noble and humane;
and as Philip II, Ferruccio Furlanetto brings anger and despair in equal
measure, nothing forced, yet palpable, and ringing to all corners of the
auditorium.
Of the newcomers, Jonas Kaufmann as Carlos is heroic, somewhat
deliberately naive, and his voice wonderfully expansive; in contrast,
and even for his relatively brief appearance, John Tomlinson makes an
awesome, terrifying Grand Inquisitor; and as Princess Eboli, Marianne
Cornetti is a somewhat shadowy figure, vocally assured and in charge of the
character's volatile range of emotions as she stalks Carlos and loses.
Bob Crowley's designs continue to inspire in both the striking visuals and
that little distracts. From the story-book opening, in which Carlos and
Elizabeth (already contracted to marry) meet and fall in love, we know the
outcome will be tragic, and the snowy happiness of that opening winter scene
is in abrupt contrast to what unfolds. Come the close, Bychkov really
clinches the denouement, hammering home the ultimate hopelessness. He brings
vividness to the scenes of public tumult, grace to idyllic moments and
sustains the tension of the private interior of the characters, despite the
solos in the orchestra quite having the personality they require, and which
may account for a lack of tension at times.
Don Carlo is an epic and complex opera; on this occasion, it seems a little
too long, but the liaisons (Carlos and Elizabeth, Carlos and Rodrigo) and
confrontations (Philip II and Grand Inquisitor) proved gripping. Don Carlos
is one of Verdi's great achievements and the Royal Opera's continued
advocacy of it is to be welcomed. It is broadcast on BBC Radio 3 on Saturday
17 October. |
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