Don Carlos: As It Should Be (mostly)

Verdi: Don Carlos
Theatre du Chatelet
Antonio Pappano, Conductor/Luc Bondy, Director
Roberto Alagna, Karita Mattila, Jose van Dam, Thomas Hampson, Waltraud Meier

Pappano leads an almost achingly beautiful effort from his soloists and the Chatelet orchestra and chorus. Perhaps my favorite Verdi opera, this is also regarded as one of his most unusual and problematic scores - often sounding simultaneously traditional yet somehow remarkably modern for its time. Pappano brings out all of these elements and his pacing of the entire long evening is beautiful, near perfection never once feeling either dragged out or rushed.

I've had ups and downs in my listening experiences with Roberto Alagna, but here, vocally and dramatically he perfectly captures every nuance, and every heartbreaking weakness of this character, taking a weak, problematic "starring role" and somehow turning him into Hamlet. It doesn't hurt that he is in astonishingly beautiful voice, his tone ringing and with a remarkable sheen. His ability to shade the voice in a variety of colors and dynamics made this an uniquely individual portrayal. He is not the "hero" Don Carlos some old-timers may wish for, but I hold this role to be almost the antithesis of heroic.

The production is simple effectively emphasizing the story telling and Verdi's music. Clearly well rehearsed, Luc Bondy's production has not a false note throughout its considerable length, every detail, every movement flowing with a rare and natural ease. In Gilles Aillaud's sets, Moidele Bickel's costumes and Vincio Cheli's beautiful lighting, every frame looks like a Murillo or El Greco masterpiece coming to life. Two particularly arresting images stand out in the St. Just scene; the first, just before the the entrance of Philip and Elisabeth - Carlos accepts Posa's request to return with him to Flanders, as Carlos kneels, Posa rests his head Carlos's shoulder. The second such moment follows the King and Queen's procession; Carlos extends his right arm out towards the now offstage couple as Posa grabs his other arm preventing his friend from following; creating a canvas of tortured angles: all arms, necks, heads, legs, backs, walls and shadows - all transformed into a tragic tableau of pain and comfort rejected.

The Fontainebleau scene (the opening cut a bit) is remarkably done and should convince any naysayers that it must be included to make the rest of this difficult work make true sense. In a barren forest of white birch, Carlos and Elisabeth draped in deep crimson, become as a single heart beating in this forest of death. Karita Mattila brings a dramatic quality that I've never before encountered in this role; at first coltish, tom-boyish, as Carlos lights the fire in the woods. Then, as he mentions that she will marry the son of Philip, becoming girlishly nervous. In only a few moments she establishes a bewitching and compelling character. In true princess manner, this Elisabeth is slightly vague yet clear she is smitten by and flirts with Carlos, her outward strength a facade - clearly a girl raised at court, aware she is but a pawn and dutifully plays the part she's given. At the news Elisabeth is to marry Philip instead of Carlos , the young lovers are crushed as the chorus, in ghostly white, enters singing her praises, lifting her into the air, placing her on a white horse and led away, knowing she is not leaving behind not only home and family, but any dream or hope of happiness as all turn away from Carlos who, alone, falls onto a rock, utterly destroyed. "Destiny has shattered my dreams." Having seen the Fontainebleau scene scene so staged I can't imagine its being left out of any production again.

Throughout this production Bondy and Pappano have encouraged their singers to live these roles and the electricity between all of the characters is stunning. Here is a theatre director who understands opera, and makes enormous use of music's ability to expand emotions in a unique way. Another example of his vision is the sheer physicality of the scene between Carlos and Elisabeth outside of the convent which takes on a desperate, violent quality that is, to say the least, startling to experience in an opera house.

As Rodrigue, Thomas Hampson gives what one of the best performances of his career. Combining humility, loyalty, compassion, pride and a sense of justice, his Posa is remarkably complex, and by far one of the most interesting good guys in all of Verdi. The voice is never big, but rich, well controlled and his sense of phrasing and attention to detail nothing short of remarkable. He also has a wicked good trill. At times, especially in his big scene with Philip, Hampson's voice seems to take on a tenorial quality - a remarkably lyrical Rodrigue, but with a sure sense of strength of purpose.

Mr. Van Dam's Philip is firm of tone, every word distinct, filled with meaning. The role, at times lies a bit low for him, but for the most part fits him like the proverbial glove. I have always want to despise Philip, but Bondy and Van Dam have made him more pathetic, a mere pawn of the Inquisitor, and Van Dam pulls off this vulnerability without once
sacrificing the strength of his character. A most complex, interesting characterization.

Waltraut Meier couldn't have been anybody's idea of an ideal Eboli, yet, she inhabits the character so fully turns in a magnificent performance, and looks damned stunning in doing so. Her vocalism in the Veil Song was kind of bizarre - it had a "warble" like quality that made it difficult to tell just what pitch she was actually on, yet she was beguiling and pulled it off. Once that was out of the way, everything else came from strength. I do wish that this mezzo would cultivate some chest voice. Her low notes seem to be her weakest and they sound exactly (except nearly inaudible) as her middle voice.

As Elisabeth, Mattila is, quite simply, a wonder. A voice capable of so many colors while retaining a unifying, individual sound. Having previously heard her in so much of her native music and Mozart, it's a tough voice to categorize, capable of riding the orchestra and cutting through it with laser like clarity, yet retaining a youthful sweetness most unusual to the typically "steely" type of voice we associate with that type of singing. Her sustained, high piano singing is nearly miraculous, a thin thread of sound perfectly placed, as clean as can be imagined then producing an effect that sounds as sensuous as silm gauze feels (two examples: her farewell to her lady-in-waiting, and reminding Carlos she is now his mother). It's all sung piano, yet she makes these moments sound entirely different. This is singing rare and refined. And remarkable. Every movement, gesture and sound came directly from this Elisabeth straight into my heart.


With the least amount of stage time, Eric Halfvarson's twisted, crippled Grand Inquisitor truly becomes a dominant central figure; the very physical embodiment of evil setting a tale of corruption, politics and religion already near chaos and spinning it completely out of control.

Nearly every scene in this long work is filled with heartbreaking magic and beauty, making it difficult to single out one scene in particular as standing out from the rest, though Posa's death perhaps takes place of honor in an evening filled with memorable music making and drama.

As one would imagine, the Chatelet audience responds with a thunderous and extended ovation, making me wish, even more, I'd been there.

ROSSINI'S SPARKLING LA PIETRA DEL PARAGONE

I’m almost embarrassed to say I only recently have gotten to really know this dazzling comedy by Rossini (having heard it once years ago in a performance with a young Jose Carerras) . But having watched this remarkable DVD, cannot possibly shout loudly enough from the mountaintops “Get this DVD!”

Truly, this is – hands down - the most innovative and imaginative staging of anything in my opera experience, to the point of it being positively revelatory. The production was designed and directed by Pierrick Sorin – a remarkable visual artist who fairly found his own medium combining film, optical illusion, and (according to the accompanying book) “optical theatres, a blend of ingenious self-invented contraptions and new technologies which enable him to appear in space, as if by magic, in the form of a little hologram among real objects.”

Sorin has done major work/exhibits for a number of galleries and some of the leading fashion houses. Still, having read all of that in no way prepared prepare me for what I was about to see. For this Chatelet production, Sorin created a television studio with a series of paneled screens above the actors heads. The “studio” is mostly bare and employs blue screen technology with the “sets” for the production on either side of the stage. The sets, such as they are, are dollhouse sized models, which onstage cameras project the images of onto the screens above. The singers move about the mostly bare stage interacting as they normally would, but their images are superimposed onto the screens above, placing them in amazing visually resplendent scenery and impossible situations.

As an example, the Count, appears singing on the burner of a stove – surrounded by flames only to – during the same aria – appear on a shelf in his refrigerator complete with icicle stalagmites. Others scenes involve several of the cast who actually appear to be swimming, diving, floating on rafts in a "real" pool. All of this is aided by a team of women clad in blue spandex bodysuits, including their heads and faces who, while visible on the stage are rendered completely invisible in the images on screen. This device is employed to create absolutely mind boggling and hilarious effects, such as the slow motion flipping of a pancake which later even appears to travel on its own through space to land on an upheld plate of its ravenous recipient clear across the kitchen.

The butler/chef later mixes cocktails with moves that rival those of the finest mixologists. A tennis tournament played with relish and slow motion during one of Rossini’s most delightful ensembles – all of this and much, much more to delight and dazzle the eye.

The entire proceedings were then filmed live at the Chatelet by film director Philippe Beziat, who judiciously moves HIS cameras up and down, dividing the action in what is at first a dizzying and slightly confusing experiment, but which – if you give it a few minutes – settles down and only serves to increase the champagne-like high you’ll derive from this exciting production.

None of this, of course, would matter a whit if not in the service a brilliantly constructed work – which, as it turns out, happened also to be the 20 year old Rossini’s first commission from La Scala. It’s inconceivable to me that this remarkable work has hardly been seen or heard in the last century, the recording in 1972 with Carreras, and in the 60’s an abridged version showed up at Glyndebourne – sung in German, and a few other places revived it, but not much more than that. Now, there is this vibrant, zany DVD – and another one about to be released next week of a separate production from Pesaro. (I'm anxiously awaiting its arrival!)

The opera itself is a masterpiece. It does not possess the depth of story as his most popular comedies, e.g., Cenerentola and Barbiere – and is, in fact more of an ensemble piece – more so even than Viaggio. It is absolutely jammed with delightful, inventive and masterful ensembles putting its cast of 9 into a variety of configurations. All of it is sung here by a young, good looking cast that would be difficult to improve upon. The plot – such as it is – involves a visit to the estate of a young, handsome Count desirous of marriage, but who is pursued by a trio of lovelies, who seem more interested in his fortune than him. Also visiting are several men friends, a poet, a newspaper arts critic, etc. and a houseful of servants. The melancholy Count devises a series of “tests” and we’re treated to the usual buffa traditions e.g., masked identities, including the count’s dressing up as a Turk and his main object of affection pretending to be a soldier, and his darling’s long lost twin.

It’s all laughable – which is precisely why it works! Bumping the action up to the 1950’s works splendidly and lays to rest any argument that every work must be first seen in its historical context to be appreciated. An Italian villa (and environs) in the 1950’s helps makes Rossini’s score sound as modern and fresh as if it had been composed last week. This is made all the more exciting by the absolutely thrilling playing of the Ensemble Matheus with Jean-Christophe Spinosi putting everyone through their paces – often at breakneck speeds that the talented cast has no trouble keeping up with, relishing even, the alacrity with which Spinosi leads them. Indeed, I don’t know that I’ve ever seen a conductor ever having a better time at his job than young Maestro Spinosi whose excitement practically leaps from the podium. Hearing this score played by this original instrument ensemble only increases my desire to hear them in the entire Rossini oeuvre. The music tangibly crackles (and yes that’s what I mean!)

There are at least several numbers that should increase the concert repertoire and the fugue-like opening of Act II is one of the most creative things I think Rossini ever penned. Leading the cast is the handsome, smooth voiced basso Francois Lis (who looks like a singing Adrian Brody) and the diminutive contralto Sonia Prima. Adorable is the only way to describe Ms. Prima. A cross between the young Imogene Coca and Carol Burnett, she is a naturally hammy comedienne with a face of pure rubber, contorting her face from hilarious mugging to seductively cute in the blink of an eye, all the while hurling out Rossini’s nearly impossible cascades of notes in a variety of coloratura styles; sometimes with smoothness and élan, and other times more muscularly and aspirated – varying to suit the needs of the music. It is nothing less than a perfect performance. Mr. Lis is new to me and, save a small hurdle there and here, he is a delight. All are attired in stunning 50’s haute couture, including some really creative bathing suit ensembles for the poolside scene. The balance of the outstanding cast is: Jennifer Holloway, Laura Giordano, Jose Manuel Zapata, Joan Martin–Royo, Christian Senn and Filippo Polinelli – and what an delightful ensemble they make!

Rossini’s opera is an undiscovered delight and the Chatelet audience went – quite rightfully – mad with applause several times, the laughter from the visuals serving the master’s sparkling, infinitely inventive score. I only hope this charmer finds itself being produced stateside – and soon! Everything about this is first class, including the housing of the DVD(s). The opera is on a single disc (running a little over 2:40) with a separate disc including interviews. The discs are housed in a hardcover bound 116 page book loaded with production photos, plot synopsis, articles about the opera and Rossini, interviews with conductor, designer, and biographies of everyone involved (it weighs over a pound!).

The product is put out by naϊve label and is perhaps the most fun I never expected to have from a DVD! I cannot recommend this highly enough! Bravo, Bravissimo to all of the forces involved in recreating this "lost" masterpiece at the Chatelet!

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