Author : Johan Uytterschaut
I won’t keep it a secret: the Don Carlos Paris version from 1867 is one of my favourite operas. The reasons being the exceptionally rich combination of melo-harmonic invention, with an orchestration so brilliant you tend to forget it – like a good film score, the use of dramatic recurrent themes (light years away from the Wagnerian example, but still), and Verdi’s final cutting loose from the dramaturgical rather empty bel canto. The vocal scripture has evidently its roots in that tradition, but the traces in this masterly score are limited to a few style reminiscences. Don Carlos is Verdi’s first real encounter with music drama. Some authors tend to diminish this Grand Opéra’s qualities for that exact reason; unjustly so, in my opinion. Verdi is clearly deviating from Grand Opéra’s old habits, if only by omitting the traditional ballet (which was still present in Les vêpres siciliennes). Well, what would you expect? A historic drama expanding the personal tragedy of a young man, suffocated in the ruthless power of the Spanish Habsburg court camouflaged behind Iberic Catholicism, into a political stance against that same tyranny (given concrete form in the Spanish Fury that levied Flanders in the 16th century) cannot be presented as a Sunday “divertissement” without hopelessly enervating its essence. Luckily, the Paris Opéra had gone passed that for some time – reason why Verdi was eager to accept it’s offer to work with Schiller’s royal play: it gave him an opportunity to set a first class drama in a house that tended to prioritise theatrics, in stead of the Italian habit of choosing lyrics for the sole reason you can’t write an opera without them.
It is the Metropolitan’s merit to have followed music director Yannick Nézet-Séguin’s suggestion of programming the French version of this master piece. The decision fits in the evolution of the house during Peter Gelb’s reign. The chocolate box habit of producing absolutely old fashioned opera is being put aside by doing away with time-worn productions on the one hand and attracting refreshing new directors and brazenly presenting newly composed opera’s on the other. That is probably why a house of confidence has been chosen in this case: David McVicar has done his 11th production for New York, in an almost completely unified set by Charles Edwards, symbolising the cramped world of the then Spanish court as a huge burial-vault, opened up now and then to allow certain nuances. An efficient solution, effectively counter balanced by epochal costumes, displaying practically nothing but greys and blacks from the moment of Elisabeth’s father’s decision to marry her off to Philip II (the scarlet robe for the Grand Inquisitor being a notable exception). McVicar has resolutely chosen a frugal acting style from which, logically, only the rebels Carlos and Posa escape: they are allowed an uninhibited display of emotion. Same thing goes for John Relyea’s Grand Inquisitor in his perverted lust for power. This even threatens to verge toward a bit of an unbalance in his famous confrontation with the King in the fourth act. One could reproach Eric Owens to have bereft his character of the necessary expressive punch, withholding in his resistance against the Church’s blatant blackmail. In fact, that is completely in line with his character: after all, Philip is a rather weak King, keeping the women at his court and the rest of his subjects harnessed with threats and hanky-panky behind the curtains. He has no redress against the open attack by the Grand Inquisitor: it is HE asking for peace and having to admit he has to give in. Owens succeeds admirably in keeping the balance between frustration and display of power; in other words, he doesn’t give in to over-acting.
The same goes for the other characters. The balance between the deep emotional injury and the straight jacket of protocol for Elisabeth is honourably defended by Sonya Yoncheva. The contrasting features of princess Eboli’s arrogant air of invulnerability is perfectly realised by Jamie Barton. The turn over towards remorse over her betrayal of Elisabeth is correct; not too much, not too little. Etienne Dupuis’ Posa is young and vigorous, quite effectively portrayed as a rebel with a kind of cock’s comb hair dress and a careless clothing style, and the credibility of his character is magnificent. Matthew Polenzani’s Carlos also fits in McVicar’s design: vulnerable and tragic, completely destroyed by the cynical raison d’état with which his father thwarts his amorous ambitions. It stands to logic that this vulnerability evolves towards wild rebellion.
The vocal performances were what they’re supposed to be. No issues there, as a house like the Metropolitan should assure. Yet, I have one remark. Originally, Elina Garanca was to sing the role of Eboli; I ignore the reason for her replacement by Jamie Barton. In any case, it wasn’t an unhappy one. Barton’s “O don fatal” in the fourth act was nothing less than impressive – the ensuing applause corroborated as much. What did surprise me was the somewhat lumbering pace of the “Chanson sarrasine” she sings in the second act to entertain the ladies-in-waiting. The singing was technically correct, but in some way the piece missed the freshness and cheerfulness it is supposed to display. I wonder if the second replacement of the evening was responsible for this. Conductor Yannick Nézet-Séguin happened to be sick, and he was replaced by the Swiss Patrick Furrer, who conducted The Magic Flute, earlier this season. It was my first acquaintance with this conductor, and I don’t find the Met’s orchestra as convincing as under its regular chef. There are subtle differences, like quickness of reaction, full spectral width and daring that I found to be lacking a little.
On the other hand, the chorus was in great shape: wonderfully dens sound in the men’s part, acute freshness in the women’s.
Conclusion: this Don Carlos is a valuable contribution to the history of this opera, having received considerable renewed attention in the French version since some decades. Of the productions I have seen, this one is absolutely my favoured so far.