Rating: 
Summary: Surprisingly Different
Review: I've had the Met DVD of Don Carlo (the 5 Act Italian version) for a couple of years. Last year our local company, the Minnesota Opera, produced Don Carlos, in the 4 Act French version. Their program notes claimed that they chose this because French more appropriately conveyed the emotions of the opera. Unfortunately, the gap in artistic capabilities between the Met cast and that of the Minnesota Opera obscured this distinction.This production, the 5 Act French version, is a real eye-opener. It's almost as if the French and Italian versions were different operas altogether. Certainly the English subtitle texts differ significantly between the two. But by far more important is the degree of emotional intensity this production displays (and this is consistent with what I saw in Minneapolis). The Met's production is rather cool and formal. This one is hot, up-close, and personal. One has to wonder whether something was lost in translation when the opera was moved this from its original French libretto to the Italian. Bottom line -- if you like Verdi, get them both. It's fascinating to compare and contrast the two productions. Both feature absolutely top-notch principal singers in the prime of their careers. The two houses are different in their approaches, (big-bucks showy at the Met, more low cost and abstract at the Chatelet) but equally effective. You will be amazed at how differently two productions of the "same" opera can turn out. And both, by their own standards, are very good.
Rating:
Summary: The Finest Opera on Video
Review: I've seen this one in the original Laserdiscs with Japanese subtitles. I've seen it on VHS. Now finally, DVD. I can't wait. One of the very great performances of Verdi's finest. Karita Mattila has to be seen and heard to be believed. Gorgeous lady, touching actress. Eric Halfvarson as the Grand Inquisitor will give you nightmares. I once saw the great Hans Hotter do the role. Eric is in his league. Waltraud Meyer, once past a rocky Veil Song, is superb. (Somehow nobody but Marilyn Horne could ever do the Veil Song, and O don fatale was beyond her) Jose van Dam will not make you forget Boris Christoff or Cesare Siepi but is fine, just fine as Philippe. A younger Alagna is finally in his perfect role. He and Thomas Hampson play off each other in a way Verdi may not have intended but probably would approve. To be blunt, Rodrigo has the hots for Carlo. Carlo is merely dependent. But Flanders be damned.
Fascinating. Special touch to watch for: at the very end of the Queen's and Carlo's farewell, she just touches a curl on the back of his head. That sums up a doomed relationship perfectly.
Rating:
Summary: Stellar International Cast Restores Opera to Rightful Place
Review: Luc Bondy's production of Don Carlos by Giuseppe Verdi (sung in the original French) has a superb cast who not only sing beautifully but act very convincingly as well. Roberto Alagna takes the title role and shows us an ardent lover, a thwarted, passionate man who has to deal with his fiancee marrying his father for reasons of state, his best friend being sacrificed to the Spanish Inquisition for his loyalty, finding his father distant and solitary yet vulnerable to his religious advisor and trying to fend off the unwelcome advances of his father's mistress. Verdi lavished some of his most poignant and lyrical music on the score which contains intimate scenes of arias and duets,but also public spectacle and huge choruses as in the "Auto-da-fe" scene. Thomas Hampson shines as Don Carlos' best friend, Rodrigo who is caught up in the fight for freedom for one of Spain's conquered countries, Flanders. His character represents the "enlightened" man of his age so Verdi gives him some of the most moving tunes but really all the characters are allowed to express themselves in such a way as to engage our sympathy at various times. The women are equally strong with Karita Mattila as Elisabeth de Valois, the noble, young princess who must leave her beloved France to marry the father while loving the son, and Waltraud Meier as Princess Eboli, the king's mistress who is also attracted to Don Carlos. Jose Van Dam distinguishes himself as King Philip 11 with his elegaic aria on unrequited love. This opera deserves to be as well known as Rigoletto, Traviata and Trovatore as it contains so many memorable tunes and ensembles. Hopefully with this production, which is more complete than most, we will be able to appreciate the large, magnificent canvas that Verdi has translated into a most human story of private love and public duty. Excellent singing, heart-rending acting, fraught situations and glorious tunes ... who could want more?
Rating:
Summary: Highly recommended !Splendid Version!
Review: One of the most impressive DVD of a Verdi opera. The conductor chose a very good version of that opera that unfortunately has a no definitive score. Its amazing to hear Verdi in French.The Paris Orchestra sounds very well( splendid cello solo).
The singers are terrific!!! Alagna is by far the best Carlos I ever heard. Mattilla , Van Dam , Meier ( excelent), Hampson and the fantastic Eric Halfvarson (as the Grand Inquisitor): a cast to remember. The sets and costumes give a special sense of modernity, and the cruelty of a violent world is even more cruel with this constant contrast of Black and White. Don't even think. By it! Now!!!
Rating:
Summary: One of the Best Opera DVDs Period
Review: Pappano led an achingly beautiful performance with excellent work from the
orchestra and chorus. I find this to be one of Verdi's most unusual
scores - at times the music is so far different than nearly anything else he
wrote; simultaneously sounding traditional yet remarkably modern. Pappano
brought out all of these elements and his pacing was beautiful, never once
feeling either dragged out or rushed.
I've had ups and downs in my listening experiences with Roberto Alagna, but
here, vocally and dramatically he perfectly captured every nuance, every
strength and every heartbreaking weakness of this character reminding me
throughout of Hamlet. He was in astonishingly beautiful voice, his tone
ringing and with a remarkable sheen. His ability to shade the voice in a
variety colors and dynamics made this an uniquely individual portrayal.
The production is quite simple and effective, placing the emphasis on the
story telling and the music (in my opinion, that's as it should be).
I'm not certain how much rehearsal went into this production by Luc Bondy,
but there was not a false moment throughout this opera's considerable
length. Every detail, every movement flows with a rare and natural ease.
In Gilles Aillaud's sets, Moidele Bickel's costumes and Vincio Cheli's
beautiful lighting, every frame looks like a Murillo or El Greco masterpiece
come to life. Two particularly arresting images stand out in the St. Just
scene; the first, just before the the entrance of Philip and Elisabeth -
Carlos accepts Posa's request to return with him to Flanders, as Carlos
kneels, Posa rests his head Carlos's shoulder. The second such moment
follows the King and Queen's procession; Carlos extends his right arm out
towards the now offstage couple as Posa grabs his other arm preventing his
friend from following; creating a canvas of tortured angles: all arms,
necks, heads, legs, backs, walls and shadows - all transformed into a tragic
study of pain and rejected comfort.
The Fontainebleau scene is remarkable. In this barren forest of white trees
Carlos and Elisabeth in their deep crimson costumes become as a single heart
beating in a forest of death. Karita Mattila brings a certain dramatic
quality that I've not encountered before in this role - at first coltish,
almost tom-boyish, when Carlos lights the fire in the woods. Then, as he
mentions that she will marry the son of Philip, she becomes girlish,
nervous. In just these few moments she's already established a bewitching
character. In the manner of a true princess, this Elisabeth appears to be
slightly vague about herself, but it is clear she is smitten and flirts with
Carlos. Her outward strength, however, is just that - a facade - for too
soon it becomes obvious that this is a girl raised at court who knows full
well that she is but a pawn and will play the part she's given. At the
horrible news that she is to marry Philip instead of Carlos , they are both
crushed as the chorus, in ghostly white, enters singing her praises. As
they lift her into the air and place her on a white horse to be led away,
she knows she is not only leaving behind home but any dream of happiness.
All turn their backs to Carlos who alone falls onto a rock, destroyed
"Destiny has shattered my dreams." Having seen this scene so beautifully
staged, I simply can't imagine its being left out of any production again.
Throughout this production the electricity between all of the characters is
stunning, and the physicality of the scene between Carlos and Elisabeth
outside of the convent takes on a desperate violent quality that is, to say
the least, startling.
As Rodrigue, Thomas Hampson gives what has to be one of his best
performances. Combining humility, loyalty, compassion, pride and a sense of
justice, his Posa is remarkably complex, and by far one of the most
interesting good guys in all of Verdi. The voice is never big, but rich,
well controlled and his sense of phrasing and attention to detail nothing
short of remarkable. He also has a wicked good trill. At times, especially
in his big scene with Philip, Hampson's voice seems to take on a tenorial
quality - a remarkably lyrical Rodrigue, but with a sure sense of strength
of purpose.
And, ah that Philip. Mr. Van Dam is a marvel; firm of tone, every word
distinct and filled with meaning. The role, while at times a little low
lying for him, fits like a glove. I have always want to hate Philip, but in
this production he seems more pathetic, more a pawn of the Inquisitor, than
I've experienced before. Van Dam pulls off this vulnerability without once
sacrificing the strength of his character. Very interesting
characterization.
Waltraut Meier couldn't have been anybody's idea of an ideal Eboli, yet, she
inhabits the character so fully turns in a magnificent performance, and
looks damned stunning in doing so. Her vocalism in the Veil Song was kind
of bizarre - it had a "warble" like quality that made it difficult to tell
just what pitch she was actually on, yet she was beguiling and pulled it
off. Once that was out of the way, everything else came from strength. I
do wish that this mezzo would cultivate some chest voice. Her low notes
seem to be her weakest and they sound exactly (except nearly inaudible) as
her middle voice.
Mattila is just a wonder. The voice is capable of so many colors while
retaining a unifying, very individual sound. It is a tough voice to place
into any specific category: it's capable of riding the orchestra and cutting
through it with laser like clarity, yet it retains a sweetness most unusual
to the typically "steely" type of voice that I often associate with
accomplishing that type of singing. Her sustained high piano singing is
nothing short of miraculous, she takes a thin thread of sound that is
perfectly placed and as clean as I could ever imagine (e.g., her farewell to
her exiled lady in waiting), other times she produces an effect that sounds
just as silk gauze feels (reminding Carlos she is now his mother) - it's all
piano, but she sings these moments entirely different from each other.
Remarkable. Every movement, every gesture came directly from her Elisabeth
and went straight into my heart.
With the least amount of stage time, Eric Halfvarson's twisted, crippled
Grand Inquisitor truly becomes a dominant central figure and the very
physical embodiment of evil as he sets a tale of corruption, politics and
religion already near chaos and spins it completely out of control.
I have so much positive to say about this production that I feel I could
write a book on it (don't worry). Nearly every moment in this long work is
filled with heartbreaking magic and beauty, Posa's death scene perhaps
taking place of honour. The Chatelet audience responded with a thunderous
and extended ovation. I wish I'd been there.
Rating:
Summary: Great Don Carlos, and in the original language!!
Review: Please, don't be put off by people who look at operas only for the sets. This version of Don Carlos is incredible in almost every aspect, the singers are not only among today's greatest stars, they also look their part perfectly, their acting is very convincing, and the music is simply marvelous. The sets are not incredible or rich but they are very effective. Also, this version is the only available in the language intended by Verdi, French! Even in the corrections he made afterwards, Verdi never intended for it to be sung in Italian, so why do most opera houses present the italian version is beyond me. The only problem is the mediocre mixing, not bad but not so good either. But that cannot detract from this being one of the best opera videos I've seen. Highly recommended!
Rating:
Summary: Grand French Don Carlo!
Review: This got rave reviews when performed and it deserved all of them. Dream cast, even Alagna, were wonderful!! The spare production/costumes worked and the French version is devine! Also, I think this is the only video available of it. Mattilla, Hampson, Van Dam are just unbelievably perfect (in spite of Hampson's silly wig). Alagna still needs schooling in proper technique but he sounded the best I've ever heard him in this production. He always performs best in French, of course. If he could just progress technically as fast as his wife has, he could be a wonderful tenor as the timber of his voice has quality. Hampson and Mattilla just keep improving past perfection! Van Dam is still one of the best baritones in the world - a legend! This ranks with me as one of the best opera videos available and as good, even though different, as the Met's Don Carlo production with Domingo. Buy it for the cast, if nothing else. This soars!
Rating:
Summary: The true heart of a Verdian masterpiece
Review: Underneath the heavy costumes and grandiose scenery of most major productions of Verdi's DON CARLOS, is there a heart beating? The pared-downed backgrounds and costumes of this version focus our attention not on what Elisabeth de Valois might be wearing to the ball in Act 3 but rather what is she doing, what might she be thinking? The direction is also fantastic - these characters are not encouraged to merely stand and sing (take for example the Veil Song - when have we ever seen the ladies of the court truly enjoy themselves as in this production?). Our attention is riveted towards the interaction between characters, and that is what opera is truly about. The string of confrontations which forms the opera is charged with electricity here. Those who have heard the recording were often disappointed by the audience presence and the dry theater acoustic. These are less problematic here. Tony Pappano conducts with a great sense of scale - his singers don't have to struggle and yet nothing outstays its welcome. The version he conducts, a smattering from various editions, is quite satisfying, giving all the characters their fair say (especially Phillippe's "Qui me rendra ce mort " lament after Rodrigue's murder) without bowing to various passages of score that may have caused the evening to drag on (the ballet La Peregrina is thankfully not restored). Roberto Alagna sings with a slightly metallic tone, as is his wont, almost entirely at an unrelieved mezzo-forte; this trait is not as unwelcome when one sees it in the context of a stage performance, although on recording it can be quite tiring. Jose Van Dam may not have a rich velvet carpet of a voice as Phillippe, unlike the ideal basso of one's dreams, but as always he is a solid performer - although notice how he gets the most acoustic mileage out of singing out the side of his mouth. In his defense, those who argue that he is too lightweight for Phillippe must remember that 1. there must be some contrast between Phillippe and the true profundo of the Inquisitor, 2. French basses traditionally had a lighter sound than those of other ethnic traditions, 3. the historical Philip II of Spain was only 33 when he married Elisabeth de Valois. What I miss in him are the half-shades of the human character - what really makes Phillippe tick, what makes him real besides what we see on stage. Eric Halvarson is a good Inquisitor - perhaps not the most subtly menacing man-of-God to cross a stage, but therein lies the difficulty of the role. Waltraud Meier is a vivid Eboli, although vocally not the strongest exponent of the role to ever be heard. She is truly alive and with a terribly expressive face, and we really believe her when she curses her "don fatal". The two stars of the performance are Tom Hampson and Karita Mattila. Hampson, made to look terribly unshaven (like any of the men in Patrice Chereau's QUEEN MARGOT), sings and acts with ultimate conviction, never forsaking a sense of line with never neglecting the power of the word. Not a conventional Verdi baritone, perhaps that is his strength - he doesn't try to be. And he sings (flawlessly!) the trills in the Act 2 trio with Eboli and Elisabeth. Mattila has a wonderfully creamy tone and is gorgeous onstage as Elisabeth. She emanates warmth and feeling (as when she comforts the Countess d'Aremberg), no wonder Phillippe broods about being unloved by her! She shortchanges no emotions as the queen, while pouring out a smooth, pure sound all throughout the score - notice her high pianissimi! The letdown after watching this video is perhaps no other production will be able to so powerfully focus in on the characters as we see here. I'm not sure I'll get used to seeing the royal livery and parting-of-the-Red-Sea cast of thousands that hallmark every other production of this opera mounted in the world (the '83 Met video with Domingo and Freni, anyone?)... For those who truly love DON CARLOS, you owe it to yourself to hunt down Christopher Morgan's DON CARLOS AND COMPANY - out-of-print but to found here and there in used bookstores. The DON CARLOS chapter is essential reading - ESSENTIAL. Someone should probably write an opera based on the facts in that chapter...
Rating:
Summary: I have to agree with everyone else: this is great!!!
Review: When I saw that this video was in my public library, I took it out, primarily to see Hampson and Mattila in a stage production. I was not necessarily expecting to be drawn in so completely, especially since Alagna is not one of my favorite tenors. But here, his thin, tinny tone is less bothersome than on records; in a theatre space it cuts nicely if not with a first-rate tone and, though he sings somewhat prosaically, he fills the bill adequately. Everything is at least musically phrased and in pitch. Waldtraud Meier does not have quite the technique to zip through the triplets in the "Veil song," but she is a powerful and impressive Eboli. Mattila, Hampson, Van Dam etc. are sheer perfection, and the conducting is superb...always supportive, never dragging, always moving forward and keeping each section in proportion. I was not as impressed with the stage sets as some other reviewers. They do not complement the very fine costumes (excepting, of course, the unshaven looks of Carlos and Rodrigue)...perhaps a drape here and there would have been appropriate. Leave it to a male set designer to not know how to use drapes effectively, LOL! In short, however, you must own this video if you love Verdi and especially this opera. This is the best French Don Carlos I have ever heard, and I've heard them all from as far back as the 1950s (at least on records). Before I had played the first tape of the library's copy, I was on the computer ordering this set from Amazon. Simply amazing.
|
