Royal Opera
17th June 2008
Don Carlo was clearly meant to be one of the Highlights of the season – and it was. But perhaps not for the reasons everyone expected. With star tenor Rolando Villazón in the title role; Marina Poplavskaya, arguably the most successful graduate from the Jette Parker Young Artists’ Programme (although she was probably also the most experienced prior to taking up the place) as Elisabetta; Simon Keenlyside, one of England’s most successful opera singers as Rodrigo; Music Director Antonio Pappano conducting, and director Nicholas Hytner, it looked set to be a triumph – and it very nearly was.
As it happened, Antonio Pappano was the only one of the ‘stars’ who lived up to expectations – although, as Simon Keenlyside was unable to perform due to illness, it’s quite likely he would have been great as well. Don Carlo is a very long opera – possibly the longest I’ve ever attended – but the four and a half hours seemed more like two. Even when there was disappointment to be found on the stage, you could listen to what was coming out of the pit, and that would somehow make up for it. I’m usually someone who appreciates the dramatic side more than the conducting. But Pappano and the ROH orchestra were doing such an amazing job, even I could tell how good they were. I knew the opera had some wonderful tunes into it, like Carlo and Rodrigo’s duet, and Eboli’s first aria, but I hadn’t realised what a wonderful opera it was.
We’ll get the negative things out of the way first. Nicholas Hytner is one of my favourite directors. I’ve seen operas, plays and films he has directed, and never failed to love them. Don Carlo, though, was an exception. Everyone in the opera seemed to have trouble looking at the other characters. (Ironically, the blind Inquisitor was the best at this: at least he mostly faced in the right direction.) But there were far too many intimate scenes played out where, halfway through, one character either turns his or her back on the other, or goes to stand behind the person they’re talking to – and not particularly close behind them either. Hiding your real feelings seems to be quite an important theme in Don Carlo, but the movements of the characters just seemed odd. Bob Crowley’s designs were all elaborate and striking, but it was the snowy opening scene that I found the most effective.
Rolando Villazón returns to the Royal Opera following a break from opera, which saw him withdraw from productions including the ROH’s new L’elisir d’amore. Villazón is certainly a great singer at his best, and not a bad actor either. I hoped his time away would help him to approach future productions in a more positive manner, and be able to give his best all the time, but he seemed to be having real difficulties with Carlo’s music, and his acting was (unusually) mostly limited to sitting down with his head in his hands. Perhaps the problem is in the role: Carlo is a long role, and I would say it’s heavier than most of those in Villazón’s repertoire, so maybe it’s a case of his taking on too much – or possibly too much too soon. But his voice sounded great when not strained, and, while his Carlo was a pathetic little wimp who couldn’t lead a dog on a leash, never mind a revolution, there was something very sweet about him.
Marina Poplavskaya is clearly a very gifted young singer with (I hope) a great future ahead of her. But she is still on the young side, and Elisabetta is a huge role. Poplavskaya’s voice is beautiful, and her performances in roles such as Donna Anna and Rachel La Juive for the Royal Opera have shown her to be an unusually good actress, but Elisabetta seems a bit much for her – as it would be too much for almost all singers of her age and experience. Her final aria was her best moment, exceptionally well-sung and full of passion, but there was a sense she was holding back during the other scenes. As the opera is so long, probably every soprano needs to hold back a bit, but it shouldn’t be quite this obvious. Poplavskaya is a great singer, and has the potential to be even greater, but there’s no need to push her. She’s only thirty: she can afford to take her time a bit, and it would be sad to see any singer, with Poplavskaya’s talent or not, to risk damaging her voice by taking on too much. I know she’s sung leading roles in other houses – but this it the Royal Opera House, and I don’t think those leading roles included Elisabetta. But I was very glad to see her and not the soprano originally intended to take the role, Angela Gheorghiu. Let’s just say she’s not a favourite singer of mine. Poplavskaya is.
In the absence of Simon Keenlyside and Jette Parker Young Artist Pumeza Matshikiza – I was particularly disappointed not to see her, as I’ve never seen this very promising singer in an opera I actually like – two singers made their ROH debuts. Mezzo-soprano Paula Murrihy replaced soprano Matshikiza as Tebaldo, and was great. She has a rich, warm voice, smallish, but powerful – perhaps a future Eboli? – and also gave the role an unusually vivid characterisation, lively and very boyish.
Dimitris Tiliakos sang Rodrigo, and the only real surprise is that this great singer as never sung with the ROH before. He has a gorgeous voice, ideal for Verdi, and also seems to be a very generous artist: he had the power to drown out Villazón in their duet - and some singers of his vocal weight might have struggled not to do so - but he never did. He treated Carlo with great kindness and tenderness, and it seemed that the love he feels for Carlo is not just brotherly love. There was more chemistry between Carlo and Rodrigo than between Carlo and Elisabetta. The great thing about it was that it seemed very natural and sweet: suggested quite subtly rather than rammed down our throats. And Tiliakos’ Rodrigo seemed such a lovely man – extremely caring and thoughtful (which almost proves his sexuality!), but also very intelligent, noble and principled. But his love for Carlo clearly has affected his mental faculties in some ways – sacrificing himself for Carlo was a huge and tragic mistake.
The role of Eboli was taken by Sonia Ganassi. Perhaps the character was less alluring than ideal, but she gave a fiery performance of her Act IV aria. She seemed even more unhinged than usual, but was also surprisingly sympathetic. Her regret about never seeing Elisabetta again seemed genuine. I almost started thinking she might be gay too. She certainly has very unusual taste in men, and both, of course, are closely connected to Elisabetta. Another notable soprano was Young Artist Anita Watson as the Voice from Heaven, her voice sofer than ideal, but the light sweetness provided a striking contrast with the heavier voices.
The three basses were also very strong – and very different. I was watching the scene between Filippo and the Grand Inquisitor, and thinking: is there another scene in opera for two basses? Ferruccio Furlanetto was a brilliant Filippo, perhaps not very likeable at first, but completely winning the audience over in his aria. I think part of what makes him such a great performer is that he puts so much of the character into the way he stands; into even the smallest movement. His voice, too, is always subtly shaded. He can convey so much by doing so little.
Eric Halfvarson was a chilling Inquisitor, very deliberate and menacing: another who made the most of his movements. Robert Lloyd was no less powerful as the ghost of Charles V – it’s a very silly ending, but you don’t realise that when Lloyd is onstage. You’re too busy worrying about what he’s going to do to remember that the story has just taken a very bizarre turn. Lloyd is also well-known for his Commendatore: no one deals with eponymous Dons like he does. Perhaps Don Pasquale should be very afraid.
Cunning Little Vixen
primi-divi at hotmail.co.uk