I was listening to the broadcast and had wondered if the production had really
chosen to eliminate any ambiguity about Carlo's fate at the end. How often has
this interpretation been staged, I wonder?
It also was interesting to know how well the performance played and sounded in
the house as I had reservations when I found Alagna was slated to sing Carlo.
Although he was an impressive interpreter in the French Carlos over a decade
ago, I was unsure until I heard him last night that at this point he could
creditably handle the Italian version. I think he sounded better than he has in
many years and although I might have wanted a more sweeping vocal arc in his
Carlo, it was a fine lyric tenor performance and suitably scaled to Keenlyside's
finely wrought, somewhat dry sounding Posa and to Carlo's touching, if rather
pale, less than spinto Elisabetta. Smirnova's Eboli was not in scale, on the
other hand, powerful but undisciplined singing, especially out of her element in
the canzone del velo and probably more effective if seen. Furlanetto has only
gotten better at pulling out all the emotional shades of Phillip vocally and the
interview with the Grand Inquisitor and the interchanges with Posa were powerful
moments to me. "Carlo" is a grand, very noble opera and of all Verdi, the work
where, to me, the elements comes together best musically, dramatically and
thematically. I get as carried away as I think the music director did last
night, sometimes allowing pacing and dynamics to roll over rather than support
the cast, but I do believe that by the time I am able to take it in again in HD,
the only way I can at present, some of the hesitancy and rough edges will have
been resolved to make this production one of the better choices of this season.
Thanks again for your "at the scene" report Idia.
LL Koster
________________________________
From: Idia Legray <[log in to unmask]>
To: [log in to unmask]
Sent: Tue, November 23, 2010 1:19:58 PM
Subject: Re: "Don Carlos" at the Met: Nov 22
Well for once it looks like a majority responded very favorably to this superbly
done "Don Carlo" which, to me, was completely fulfilling in every sense of the
word. All singers were not only in fine voice, but you had to be there to see
the actual way they interpreted their roles to perfection.
Furlanetto and Alagna especially grabbed me though Poplavskya was also
extremely appealing to me -- am I the only one who hears Radvanovsky in her
voice?
My favorite scene, the Grand Inquisitor, was done in exquisite taste and a
believable approach. Many scenes were executed in that same manner.
The Auto da Fe scene was similarly spectacular, given minimal staging, which
took nothing at all away from the grandeur and excitement. In fact, I was
blown away by the minimal staging. It is refreshing to see a new production
for a change and the black, brooding with white light shining through was
simply magnificent. Kudos to the director and costume designer.
(Boos, someone heard Boos?) I purposely listened very carefully and heard
maybe 1 or 2 show-offs but the place simply erupted in positive praise and
applause for the deserved creators.
This was a tour de force production and each and every one did themselves
proud.
One very interesting tidbit and also proof of how what one misses by only
listening at home can be a detriment, especially so in this case.
Jim of Santa Fe (my bud!) said, among other misses on this one -- (sorry luv!):
"I thought Alagna was in trouble from the first note -- he used a small pushed
up sound at the outset, and by the end his voice was so clutched up I
thought he would just stop singing -- he almost did if you listened closely to
his final gasped notes;"
That last line really got to me proving how badly one must see this production
in person (go see the HD Jimmy, and report back a brand new set of criticisms)
BECAUSE...
... no WONDER Alagna sounded "clutched up [like] he would just stop singing"
at the end, because, he literally DID!
For the first time ever in all my Don Carlo watchings and listenings, I was
astounded to see that Don Carlo dies -- yes DIES!! -- right in front of us.
He does not get "saved" by his grandpop, he literally is stabbed to death and
dies in Elisabetta's arms.
I personally liked this more plausible ending but wonder if it was ever executed
at the tip of Verdi's pen at any time before being changed.
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