Don Carlo by Verdi opens the season of Palau Arts

Don Carlo by Verdi opens the season of Palau Arts

 

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just ten years ago it was represented for the first time El Palau de Les Arts, Verdi's Don Carlo, then with the excellent direction of Lorin Maazel disappeared They were still good times for Palau! This opera has again scheduled to officially open, last 9 from December, the new season 2017-18, with the presence in the cast of incombustible Placido Domingo as Rodrigo Marquis de Posa. Madrid singer to turn seventy-seven years, still a real jerk, to the point that almost all entries of the five performances scheduled, had run out well in advance. The premiere was marked by controversy arose a few days before, Davide Livermore with the resignation as Mayor and artistic director of the Palau de Les Arts. Before the beginning of representation requested a spectator applause for Livermore, which it was followed by a standing ovation. After the break, when he was about to start Act III, a voice shouted "conceller coward", seconded by applause and numerous other voices saying "out political" or "do not be a burden opera". All these spontaneous demonstrations, show the tremendous discomfort of a public, who disagrees with political decisions, that can harm this important operatic center. Hopefully everything is resolved, for fans to the world of opera, we can continue to enjoy excellent programming offered by this theater. The complex world of opera should be managed by real experts, that are not mediated by political interests.

Don Carlos emerges as commissioned Giuseppe Verdi French government, on the occasion of the Universal Exhibition which was to take place in Paris, in 1867. The theme chosen was an adaptation of the play Don Carlos, Infante of Spain de Schiller. The magnificent drama of German poet dated back 1787, and it was a work of intense political content, where Schiller, performing a harsh critique of authoritarian Felipe II, strongly influenced by the Inquisition, against the desire for freedom from his son Don Carlos Infante and his friend Rodrigo Marquis de Posa. The playwright was inspired for his work, in an episode of the "black legend" that Felipe II, they devised William of Orange, responsible for rebellion against the Spanish Empire of the Netherlands and Antonio Perez, unfair secretary of Felipe II. That episode was the death in prison of Don Carlos, heir to the throne, in circumstances never clarified. It is a historical reality that when Infante was a child, She had thought of him marry the daughter of Henry II of France, Isabel de Valois. Finally, it was intended, when he was only thirteen years, to be the wife of Philip II, widower twice. Away all historical reality, Schiller's work argued that Isabel Valois, as a teenager, I had met in France to Don Carlos, I was his age, establishing a relationship between the two, finally cut short by the marriage of Isabel with Philip II. The reunion of Don Carlos and Isabel, It is the trigger for the drama written by Schiller, where the detention and death of Don Carlos had been caused by jealousy of Philip II, discovering the old relations of her son with Isabel and support the Infante was giving the Flemish rebels, harshly persecuted by his father. From the work of Schiller, Joseph Mery and Camille du Locle, They prepared a great libretto. With this material Verdi got put music to a long text moral and political dialogues, with fierce criticism of the Inquisition, represented by that terrible and sinister character of the Grand Inquisitor, in the shocking scene of his duet with Felipe II. This is a story about friendship, love, jealousy, the parent-child conflicts, who was always interested in Verdi; Y, especially, the loneliness of power, captured in a stunning monologue of Philip II. The work followed the conventions of the Grand Opera, with a structure in five acts, and in Act III insertion of a certain size ballet, called La Peregrina.
The premiere of Don Carlos was in the Imperial Opera in Paris (later called Palais Garnier) he 11 March 1867, with the assistance of Emperor Napoleon III and his wife Eugenia de Montijo, who greatly he disturbed by the way in which Verdi was Philip II. Parallel to the version written in French, Achilles Lauzières, He prepared a translation of the libretto into Italian, which it premiered at the Teatro Comunale of Bologna 27 October 1867. Over the years, Verdi decided to reduce the opera to four acts, where Act I of the French version is removed (Act of Fontainebleau) and ballet. This version premiered at the Teatro alla Scala, the 10 of January of 1884, and is that shown most commonly.
Don Carlo representations were very low during the first half of the twentieth century. From 1950 again it is programmed with some regularity, being the character played by Don Carlo Jussi Björling great tenors as, Richard Tucker, Franco Corelli, John Vickers y Carlo Bergonzi, who in 1965 He made an extraordinary performance, in a reference recording studio (Italian version in five acts) sello of Decca, with Renata Tebaldi as Elisabeth de Valois, the stunning Princess Eboli Grace Bumbry, the splendid Philip II of Nicolai Ghiaurov, the elegant and subtle Posa of Dietrich Fischer-Dieskau and the imposing Grand Inquisitor Martti Talvela, directed by Georg Solti at the head of the Orchestra of Covent Garden.
It should be noted the magnificent creations of Don Carlo conducted by Spanish tenor Jose Carreras as, Jaime Aragall, and especially Placido Domingo, who more times interpreted, since he debuted at the Vienna State Opera, in 1967, to about latest features, Also in that same theater, in 1992. During these twenty-five years, Sunday has left an important legacy of this opera record, with numerous live recordings, between them, two video shots: in 1978 (Teatro alla Scala) Posa next to the great Renato Bruson, with Claudio Abbado and 1983 (Metropolitan de New York) next to the magnificent Isabel Valois played by Mirella Freni, James Levine direction. Of all his interpretations, which include study conducted in (Italian version in five acts) EMI, in 1970, with Montserrat Caballé as Elisabeth of Valois, the extraordinary Éboli Shirley Verret, Felipe II Ruggero Raimondi of and Sherrill Milnes as Posa, with the superb direction of Carlo Maria Giulini at the head of the Orchestra of Covent Garden. This recording is referential next to the Solti, and it, Sunday makes one of the best performances of his career. curiously, and last twenty-five years of his last Don Carlo, Sunday has taken up this opera, playing the baritone role of Rodrigo Marquis of Posa, which he debuted at the Vienna State Opera, last June and he has returned to play in the Palau de Les Arts.

Don Carlo depicted in Valencia is the version in four acts, being a production of the Deutsche Oper Berlin scenically Marco Arturo Marelli directed by, also responsible for set design and lighting design. I know my predilection for reproducing productions, as closely as possible, both its scenery and costumes a particular historical period, and that more needed in operas such as Don Carlo is still made. Definitely, these productions are extremely expensive, but they are particularly bright. Y, can serve as an example of Franco Zeffirelli mounts, John Dexter or Hugo de Ana. In this Don Carlo he has opted for a minimalist scenery with large mobile panels that are moving to narrow scenic areas, enhanced, At different times, a good lighting. Gaps which form between the panels, for much of the representation, take the form of cross, in an attempt to show the great religious influence on political power at the time of Philip II. Scenic objects are minimal: a small monolith crowned by numerous candles that appears at the beginning and end of the opera, some sidewalks or vacuum conjugal bed, Philip II contemplated with infinite sadness in his big scene in Act III. Costume design is attractive Dagmar Niefind, the historical character being worn by women predominantly dark tones, except the character of Eboli, who wears a green dress. The menswear, It is timeless, with distinctly modern details like that carrying briefcase slung the Marquis of Posa. Dark colors contrasting with the deep red of ecclesiastical vestments, especially in the great scene Autodafé, one of the most accomplished moments of this production. Acceptable stage direction of Marco Antonio Marelli, who at the end of the opera takes license with respect to the original text, with the shooting of Don Carlo and his friends flamingos, reminiscent of the famous painting by Goya, "The Shootings of the Moncloa".

Great performance by the Orchestra of Valencia directed by Ramon Tebar, who showed great knowledge of this verdiana score, offering a careful reading, intense and contrasted, where the orchestral sound greatly shone in the "Song of the Veil" in Act I, and especially in the great scene of the Coronation and Autodafé, Closing of Acto II, with an outstanding intervention metals. As well, the orchestral accompaniment gave a tremendous dramatic dialogue between Philip II and the Grand Inquisitor in Act III. Note the execution of the soft and delicate music that introduces the Act II. Other great orchestral moments occurred in the duo of Felipe II and Isabel of Act III, and the same act trio with Éboli, Posa and Philip II, with excellent rendering of the cellos. Very beautiful flute sound and metals, when death occurs Posa. Lovely dialogue is serious rope and metals in the prelude to Act IV. Special mention deserves the brilliant solo cello intervention in the great scene of Philip II, at the beginning of Act III. Providing superb oboe and English horn accompanied Isabel's aria of Act I "Non pianger compagna mia". Brilliant orchestral sound accompanying the "Duo friendship" Don Carlo and Posa, Table I at the end of Act I, which appears repeatedly in different moments of the opera. Excellent work of conclusion of Ramón Tebar very aware of the voices, in particular by facilitating the work of Placido Domingo. In sum, orchestral performance was the great attraction of this Don Carlo.

Placido Domingo has expanded its huge repertoire, the role of Rodrigo Marquis of Posa, who played for the first time last June, at the Vienna State Opera, precisely when the fiftieth anniversary of his debut as Don Carlo was fulfilled in the same theater. Upon hearing the magnificent creation of the unfortunate Infante of Spain, by a jovencísimo Sunday, of beautiful timbre, with a splendid Verdian singing line, and check your logic current state vowel, arises at least for me- great sorrow and longing. Posa is one of the most beautiful Verdi baritone roles created by. It is a character of presence and vigor youth, the same age as Don Carlo. So, the first problem, Domingo is its absolute lack of scenic adaptation, because with their physical appearance today, -typical of someone about to meet seventy-seven years- in his scenes with Don Carlo, seems his father and even his grandfather. Another problem is the lack of timbral differentiation Don Carlo, and Domingo sings baritone with tenor roles. To this short fiato and loss of vocal volume which makes it almost inaudible in the concertante is added. But nevertheless, still it is able to offer a line of singing verdiano, much better than his castmates. Y, in his great scene of Act III, It is able to overcome shortcomings and interpret very significantly, While ligand notes, bellísima the air "came to me the day supreme", giving a singing lesson verdiano. When he went to say hello, at the end of the representation, the audience gave him a standing ovation, aware that they were in the presence of the last great myth of opera.
Andrea Caré in the role of Don Carlo, He offered an attractive timbre moving well in the acute area, although showing difficulties in the passageway. He was undemonstrative, with a monotonous and lacking phrasing of intentionality. His best moments were his duet with Éboli of Act I, and especially the great final duet of Act IV, with Isabel de Valois, played by Maria Jose Siri, who showed good vocalism, with secure high register, although with a very limited range of bass and singing, at times, inexpressive. He made a remarkable vocal performance on the expressive plane Worse- de on air Acto I "Do not weep my partner". It was pretty toned Trio in Act I, Eboli and Posa with. His performance was gaining in intensity in his duet with Felipe II, Act III, getting deliver a magnificent performance of his big aria in Act IV "Tu che la vanita", with excellent sound regulations even running a creditable "messa di voce" and beaming with certainly a Si4.
Violeta Urmana offered an interpretation of Eboli, full of expressivity, although the vocal plane had some difficulties in implementing the agility in his aria in Act I "Nell Giardin the beautiful" (Song veil), where, curiously, He was cut the last part of repetition, with a series of bars omitted, that advance the orchestral moment that marks the presence of Queen. Very well in her duet with Isabel Act III, followed by very difficult aria "O don fatale" who played with art and real courage, although it lacking in the low register and a sharp somewhat intemperate and suspenders.
Alenxander Vinogradov low as Felipe II, He offered a stunning vocalism, although not really into singing style verdiano, and this is evident in his duet with Posa Act I, where Placido Domingo, if it shows a good command of phrasing verdiano. The Russian bass made a very remarkable and nuanced interpretation of his big scene in Act III startup, "She giammai m'amo ... .Dormiró nel mantle sun" and is magnificent in the stunning duet with the great inquisitor played by Marco Spotti low, lacking the roundness of deep bass that requires this role, where it is clearly surpassed by Alexander Vinogradod, one of the big winners of this Don Carlo.
While the rest of the performers, emphasizing the soprano Karen Gardeazabal as the transvestite Tybalt, ridiculously characterized mustache including, and the voice of Heaven starring Olga Zharikova, It is appearing on stage with a baby being taken away.
As usual, excellent performance of the Choir of Valencia Generalitad, in its numerous interventions, proved highly commendable its work, in times where voices are imbedded in the gaps left by the movable panels, as in the case of the scene of the "Auto de Fe".