There were plenty of reasons for wanting to see this Met production of 'Don Carlos'. The opera, here in its original French version, is one of my favourites from Verdi and has been ever since seeing the opera in full (via the Met) over a decade ago and knowing various highlights before then. Have been a loyal regular goer to live cinema broadcasts of opera and ballet. Am also an admirer of almost all of the cast, with Sonya Yoncheva and Eric Owens being particularly consistent, and of Yannick Nezet-Seguin's work.
Not to mention David McVicar, have not liked every staging touch he has done (Mephistopheles in a ballgown in 'Faust') but shall also never forget how he did such wonders making such cohesive, intense drama and complex characters and interaction out of 'Il Trovatore' in a way not seen from any director before or since. This production of 'Don Carlos' could have been a lot better considering the hype, though do appreciate its ambition and it's valuable historically. It's mostly very well done musically, but very uneven and visually it does not appeal.
As said already, there is a lot to admire. The orchestral playing is marvellous throughout, very powerful and nuanced with the brass being especially good. Standouts being the big Act 3 chorus, the duet between Phillippe and Rodrigue and the climax to Act 4. The chorus are on fine form also, particularly in Act 4. They sound fantastic and somehow manage to bring individuality and animation to their often static stage direction, the mob scene sears. Nezet-Seguin's conducting on the most part is some of his best of his Verdi endeavours. The whole of Act 2 (especially the Phillippe and Rodrigue Duet) and the end of Act 4 being notable particularly.
Did think that the staging did have its bright spots, with the best developed chemistry being that of Carlos and Rodrigue which is consistently compelling, with the friendship, pathos and tensions all obvious. It also works in the mob scene which is very intense, the passion filled Act 2 duet between Carlos and Elisabeth and the clash of the titans since between Phillippe and Grand Inquisitor. The highlight is the absolutely devastating death of Rodrigue, did actually cry.
Most of the performances for me were fine, with the best performances being John Relyea's absolutely terrifying Grand Inquisitor (giving some of his best ever singing in my view, those low notes are cavernous and personally thought he was fine at the top). And even more so the noble, charismatic and moving Rodrigue of Etienne Dupuis (as well as one of the most vocally elegant of anybody in the role with no histrionics or bombast) in a performance that should send him to international stardom as soon as (he is heart wrenching in Act 4). Matthew Polanzani was a huge surprise as Carlos, the role didn't come over as too heavy as admittedly feared with him singing with plenty of ring and heft throughout while still managing melting softer moments. He blends with Dupuis beautifully. Yoncheva is a poignant Elisabeth and sings with gleaming beauty and nuanced musicality throughout. Despite a slightly shaky start vocally, though the gimmicky staging in the Veil Song did work against her, Jamie Barton is a truly powerful Eboli vocally and dramatically, with "O Don Fatal" being one of the production's biggest individual performance highlights.
Having said that, Owens, who this reviewer actually likes a lot, disappoints as Phillippe. Apart from a movingly anguished Act 4 aria and every bit as touching "Lacrimosa", he sounded underpowered, particularly in Act 2 where his bottom register isn't as booming or as warm as ought. Phillippe is a very complex character, a tyrant to begin with but with edges that soften through the course of the opera, but personally didn't get that complexity with Owens. He underplays the more tyrannical moments and can be too wan when softening, which is disappointing because Owens is actually a very good actor and plays complex characters with similar character traits before. Did find Nezet-Seguin's conducting lethargic on occasions, especially in the Fontainbleu scene.
It's the visuals and the staging where this 'Don Carlos' most disappoints. Visually, it is far too grim, dark and dreary, especially the too catacombs-like sets and Barton's truly unflattering costume, and it did feel like the set and costume designers were taking the darkness of some of the drama to extremes. Anybody that didn't like the production values of 'Rigoletto' (count me as one) are going to feel the same. The one appealing aspect visually was the Grand Inquisitor's regally red costume and that is not a joke. Did also find the staging, despite great moments, very static and blocky, with very little of the character insights that shone so brilliantly in McVicar's 'Il Trovatore'.
Did find particularly the relationship between Carlos and Elisabeth initially much too polite and in need of more intimacy, having them barely together on stage was a big mistake. And then there is also some distracting and wholly unnecessary staging, especially some very gimmicky and noisy use of puppetry in the Veil Song and even more so the jester in the burning of the heretics.
Overall, uneven with many things to admire but also some frustrations. 6/10.
Not to mention David McVicar, have not liked every staging touch he has done (Mephistopheles in a ballgown in 'Faust') but shall also never forget how he did such wonders making such cohesive, intense drama and complex characters and interaction out of 'Il Trovatore' in a way not seen from any director before or since. This production of 'Don Carlos' could have been a lot better considering the hype, though do appreciate its ambition and it's valuable historically. It's mostly very well done musically, but very uneven and visually it does not appeal.
As said already, there is a lot to admire. The orchestral playing is marvellous throughout, very powerful and nuanced with the brass being especially good. Standouts being the big Act 3 chorus, the duet between Phillippe and Rodrigue and the climax to Act 4. The chorus are on fine form also, particularly in Act 4. They sound fantastic and somehow manage to bring individuality and animation to their often static stage direction, the mob scene sears. Nezet-Seguin's conducting on the most part is some of his best of his Verdi endeavours. The whole of Act 2 (especially the Phillippe and Rodrigue Duet) and the end of Act 4 being notable particularly.
Did think that the staging did have its bright spots, with the best developed chemistry being that of Carlos and Rodrigue which is consistently compelling, with the friendship, pathos and tensions all obvious. It also works in the mob scene which is very intense, the passion filled Act 2 duet between Carlos and Elisabeth and the clash of the titans since between Phillippe and Grand Inquisitor. The highlight is the absolutely devastating death of Rodrigue, did actually cry.
Most of the performances for me were fine, with the best performances being John Relyea's absolutely terrifying Grand Inquisitor (giving some of his best ever singing in my view, those low notes are cavernous and personally thought he was fine at the top). And even more so the noble, charismatic and moving Rodrigue of Etienne Dupuis (as well as one of the most vocally elegant of anybody in the role with no histrionics or bombast) in a performance that should send him to international stardom as soon as (he is heart wrenching in Act 4). Matthew Polanzani was a huge surprise as Carlos, the role didn't come over as too heavy as admittedly feared with him singing with plenty of ring and heft throughout while still managing melting softer moments. He blends with Dupuis beautifully. Yoncheva is a poignant Elisabeth and sings with gleaming beauty and nuanced musicality throughout. Despite a slightly shaky start vocally, though the gimmicky staging in the Veil Song did work against her, Jamie Barton is a truly powerful Eboli vocally and dramatically, with "O Don Fatal" being one of the production's biggest individual performance highlights.
Having said that, Owens, who this reviewer actually likes a lot, disappoints as Phillippe. Apart from a movingly anguished Act 4 aria and every bit as touching "Lacrimosa", he sounded underpowered, particularly in Act 2 where his bottom register isn't as booming or as warm as ought. Phillippe is a very complex character, a tyrant to begin with but with edges that soften through the course of the opera, but personally didn't get that complexity with Owens. He underplays the more tyrannical moments and can be too wan when softening, which is disappointing because Owens is actually a very good actor and plays complex characters with similar character traits before. Did find Nezet-Seguin's conducting lethargic on occasions, especially in the Fontainbleu scene.
It's the visuals and the staging where this 'Don Carlos' most disappoints. Visually, it is far too grim, dark and dreary, especially the too catacombs-like sets and Barton's truly unflattering costume, and it did feel like the set and costume designers were taking the darkness of some of the drama to extremes. Anybody that didn't like the production values of 'Rigoletto' (count me as one) are going to feel the same. The one appealing aspect visually was the Grand Inquisitor's regally red costume and that is not a joke. Did also find the staging, despite great moments, very static and blocky, with very little of the character insights that shone so brilliantly in McVicar's 'Il Trovatore'.
Did find particularly the relationship between Carlos and Elisabeth initially much too polite and in need of more intimacy, having them barely together on stage was a big mistake. And then there is also some distracting and wholly unnecessary staging, especially some very gimmicky and noisy use of puppetry in the Veil Song and even more so the jester in the burning of the heretics.
Overall, uneven with many things to admire but also some frustrations. 6/10.
