Don Carlo, at the Theatre Royal

Don Carlo
Giuseppe Verdi (1813-1901)
Opera in five acts
Joseph Mery libretto there Camile Le Locle, based on the play Don Carlos, infant of Spain (1787) de Friedrich Schiller, translated into Italian by Achille de Lauzières and Angelo Zanardini.
2 October, Teatro Real in Madrid
D. musical: Nicola Luisotti
D. scene: David McVicar
Scenographer: Robert Jones
Costume designer: Brigitte Reiffenstuel
illuminator: Joachim Klein
Choreographer: Andrew George
Playwright: Maite Krasting
D. choir: Andrés Máspero
Distribution: Michele Pertusi, Andrea Caré, Simone Piazzola, Rafal Siwek, Fernando Rado, Ainhoa ​​Arteta, Silvia Tro Santafe, Natalia Labourdette,
Moses Marin, Leonor Bonilla, Mateusz Beware, Cristian Diaz,
David Sanchez, Francis Tójar, David Lagares and Luis Lopez NavarroLas intrigues of the Spanish court have always been a source of inspiration for writers and musicians. Especially those fed by the "black legend" that came mainly from England, the rival Spanish power cut at the time. Y a Friedrich Schiller, author of the work on the libretto by Joseph Méry and Camille du Locle interested him more than the fabled legend real.Verdi history did not escape this fascination is based. Interested in the issue after a visit to the Escorial during his stay in Madrid, he thought that Don Carlo could respond to the request of the Paris Opera for the celebration of the Universal Exhibition 1867. A theme like this was perfect for the public in Paris, lover of the great French opera, with spectacular scenery and great intensity dramática.Pero, despite the deployment of resources for its composition, Verdi was not satisfied with the result. Constant modifications introduced. So much, the first version of Don Carlo never be released. After the first rehearsal and before the second, the large number of changes made in the score resulted in a second version, which it was premiered at which 1867, known as the "Paris version" .Había time opera premiered in Italy, or public taste Italian, unaccustomed to almost endless works, nor the ability theaters, They are responding to the demands of the Parisian version of Don Carlo. Verdi then decided to make a drastic cut to work, thus giving the Italian pragmatism. Then came the "Milan version" of 1884, in which it dispenses with the ballets and the first act, el Fontainebleau. This has been to date, the version represented España.es 1886 Verdi revised the work again. The suppression of the first act left some gaps in the narrative. He decided to reinstate Fontainebleau. It is not in vain in this act in which the main theme of the work is proposed, the innermost feelings of the characters, meet their public responsibilities. born then, "Version of Modena". Which recovers the Teatro Real this season.

The scenery is abstract, David McVicar very typical, which we recall the twist and the latest Gloriana, ambas Britons. The stage has been reset by Axel Weidauer, justifying the scenery quoting the author of the libretto, Friedrich Schiller: "The most beautiful dreams are those who are in prison". And certainly this phrase has inspired the scene until an oppressive and claustrophobic atmosphere. It composed solely of gray brick structures whose slight movement creates new spaces in which nothing changes. Only a few symbolic elements take us back stage.

McVicar always used the costumes as a fundamental element of contextualization of the work. Its historical rigor and the extraordinary costumes by Brigitte Reiffenstuel are quite reminiscent of the historic moment living characters. It is a perfect vehicle between history that narrates the work and modern and eclectic scenery.

The musical direction was in charge of Nicola Luisotti. With him the orchestra sounds like Verdi. Sometimes, too. The sound volume was often excessive and somewhat cumbersome. Maybe that's why the best moments of the orchestra were those that required greater expressiveness. It was less more in his direction and managed to keep the pulse until the end. Get a good level of theatricality and narrative continuity that facilitates the work of the singers.

The choir was an important element in dramaturgy. Figurines and that set the perfect sound that vibrates the heart of the entire room.

The voices were led by Don Carlo Andrea Caré. His performance was also low to high. It started with a somewhat rude lisp was clearing, resulting in a good phrasing that emphasized a beautiful and homogeneous timbre. expressiveness, both vocal and scenic, It was almost nonexistent.

Isabel de Valois Ainhoa ​​Arteta was at high altitude. His voice, always audible and timbrada, delineated a character suffered in the most intimate and full of dignity and solemnity in its institutional part, Thank you, especially, his extraordinary stage presence. He played his Elisabetta with elegance and musicality and shone in the middle voices.

The always solvent Silvia Tro, I knew give your Princess Eboli distant coldness that is supposed. Registration maintains an extensive tour that allowed him to face an acute tessitura at times, but also demanding rushing serious character in "O don fatale".

Filippo II of Michele Pertusi had its greatest qualities in the interpretation and phrasing intentional. But the volume of his voice and insufficient serious, They blurred partly a character, roundness asking more vocal and more psychological depth

Something similar happened with the grand inquisitor of Rafal Siwek. His presence on the scene saw the character, but it is very scarce in vocal terms.

Simone Piazzola gave birth to a Rodrigo with all its qualities of loyalty and camaraderie to his friend, The infant. He had moments of inspiration and phrasing with taste, especially in duets and at the time of his death.

The Tybalt Natalia Labourdette was almost unheard. Between the volume of the orchestra and his voice, We could barely hear.

A very good standard interpretation was Friar Fernando Radó. And the Flemish deputies Mateusz Hoedt, Cristian Diaz, David S´nachez, Francis Tójar, David Lagares and Luis López Navarro.

A successful start of season with more show at the stalls that scene.

Text: Paloma Sanz
pictures: Javier del Real
Videos: Teatro Real

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