Don Carlo is one of Verdi's most epic opera - both in ambition and scale. With a performance length hovering at around 4 and a half hours, this takes commitment both from the artists and the audience. Not all of the audience were up to it and a couple of young women seated next to me abandoned ship at the first interval their places gratefully taken by an Italian couple from the standing places. But perseverance pays dividends for this is one of Verdi's most ravishing scores wrapped in a deeply dark political and personal plot.
Hearing Jonas Kaufmann's voice live in the theatre for the first time is probably something I will always remember. Yes, of course it sounds just a good as on DVD or CD, but live in the theatre you can feel the full impact of the varied tone and dynamics. But I can now sort of understand why some reviewers think that hasn't got a 'Verdi voice' - it lacks the typical ping and innate sunshine in the sound, but in Don Carlo this matters less given the dark overtones throughout. I for one would gladly listen to Herr Kaufmann in whatever he chooses to sing. Yes, even Wagner!
But he wasn't the only vocal star of the evening. There was barely a weak link in this magnificent cast, even given the cancellation of Anja Harteros who was due to appear as Elisabetta but cancelled due to acute tonsillitis. I won't go into the furore (not in the House but on social media) that greeted this latest of many cancellations, but will simply say that her replacement was much more than adequate. Lianna Haroutounian has an impressive dark toned voice with ringing high notes and sympathetic acting in her portrayal of Elisabetta and she clearly impressed the audience judging by her reception at the end of the opera. I would hope that the ROH management are even now beating down her door armed with future contracts.
In the role of Rodrigio, Mariusz Kwiecien displayed a robust baritone but I found his acting in this role pretty generalised, although I appear to have been in the minority as he also was cheered to the rafters. Beatrice Uria-Monzon sang Princess Eboli who cut a beautiful figure (as her character should) but whose voice is an acquired taste.
The fabulous Ferrricio Furlanetto as the despotic tyrant Philip humanised by Verdi's music, was simply sublime. Out of all of the singers on stage he was the one who fully embodied the role he was playing - that comes from over 30 years of playing the role and the experience shows. His duet with the Grand Inquisitor as sung by Eric Halfvarson was masterly and almost the best moment in the opera. Almost.
Although hard to pick the greatest moment out of so many great moments, the best for me was the final heart-rending farewell duet between Carlo and Elisabetta at the tomb of Carlos V. It was simply ravishing and I cannot imagine I will ever hear it sung so beautifully again. Kaufmann dared to reduce his voice to the merest whisper in places and yet was still clearly audible. Haroutounian joined in this Verdian 'liebestod' until there was barely a dry eye in the house.
Last but certainly not least, Antonio Pappano led the orchestra in a rousing and dynamic reading of this complex music. The ROH Chorus too played a vital role in making the performance come alive.
I've concentrated on the singing in this review and I think that's how it should be. Nicholas Hytner's production has been well documented elsewhere and has both detractors and admirers. It's semi-abstract style certainly doesn't detract from an outstanding evening although I don't think it particularly added anything either. I've certainly seen the autdo-da-fe done better but as I say, it didn't detract from the fabulous singing and acting on stage.
I've said that I cannot imagine hearing the final duet sung so beautifully again - actually I'm hoping I will as I'm revisiting this on the 18th May where I hope to be blown away all over again.
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