Postmodernist Interpretation and Stellar Singing: A Memorable Night with Don Carlo at the Royal Opera House

…By Judah Olanisebee for TDPel Media.

A Memorable Night at the Royal Opera House

Incredible Performances and Fond Memories

The Royal Opera House has witnessed countless memorable productions throughout its history, and Verdi’s Don Carlo holds a special place in the collective memory of opera enthusiasts.

The Visconti production of 1958, with its illustrious cast including Jon Vickers, Tito Gobbi, and Boris Christoff, remains fondly remembered.

Grace Bumbry and other notable singers have also shone in subsequent revivals of the production.

A Postmodernist Take with a Stellar New Star

Nicholas Hytner’s postmodernist interpretation of Don Carlo, featuring sets by Bob Crowley, has already established its own legacy.

Previous revivals featured renowned tenor Jonas Kaufmann, and the latest revival introduced a new star to the constellation: Lise Davidsen, portraying the character of Elizabeth of Valois.

Lise Davidsen’s Captivating Performance

Lise Davidsen’s presence on stage immediately captivates the audience.

Her ardent tone sets the opening Fontainebleau scene ablaze, and her warmth and regal authority shine through in every subsequent scene.

Her performance is filled with empathy, and her commanding top notes in the final act’s aria “Tu che le vanità” are truly spine-tingling.

Brian Jagde’s Journey as the Title Character

Brian Jagde, in the title role of Don Carlo, took some time to fully warm up.

However, it was ironic that his first truly thrilling high notes came during the scene where he expresses his undying love to the disguised Princess Eboli, whom he mistakenly believes is Elizabeth.

Jagde showcases both romantic charm and a sense of heroic idealism that ultimately leads to his downfall, exacerbated by the inconvenient fact that Elizabeth becomes his mother-in-law as she ascends to the Spanish throne.

Notable Performances and Confrontation of Church and State

Taras Shtonda, as the Grand Inquisitor, and John Relyea, as King Philip II, portray the merciless autocrats who symbolize the clash between Church and State.

Shtonda’s intonation lacks focus, but Relyea’s gravelly and magnificent tone effectively reveals a human, albeit self-pitying, side.

Luca Micheletti impresses as Rodrigo, Marquis of Posa, even in his dying moments, showcasing impressive breath control.

Sarah Dufresne’s celestial Voice from Heaven adds to the overall impact of the performances.

An Oddly Awry Revival

Despite the convincing performances of the principals, there is an odd discrepancy in Dan Dooner’s revival.

Hytner’s chilling auto-da-fé scene, with its vivid red, gold, and black imagery, exudes morbid fanaticism.

However, this time, there seems to be an element of Pythonesque humor in the treatment of the heretics, and it becomes unclear whether the assembled crowd is sympathetic or hostile towards them or the supplicant Flemish envoys.

This feebleness in staging was not observed in previous revivals.

The Conductor’s Impact

Bertrand de Billy, leading the orchestra, achieves success in capturing the distinctive essence of Verdi’s scoring and providing the singers with the necessary space to deliver their expressive lines.

However, his conducting occasionally lacks the precise dynamism and dramatic tension that Antonio Pappano brought to the production in 2013.

A Memorable Night and a Sovereign Performance

Despite the production’s minor shortcomings, the performance remains unforgettable, particularly due to Lise Davidsen’s portrayal of Elizabeth.

Her exceptional performance is bound to become legendary in the history of this production.

Overall, it was an evening of regal artistry in every sense.

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