Golden Label Opera & Music Theater – The original version of Don Carlos, as Giuseppe Verdi truly wanted it, was what Opéra de Wallonie chose. It lasts 4 hours and 30 minutes, no small feat, and that deters people. Already in Verdi's time, cuts were eagerly made. The result is that a slew of versions exist, as virtually every opera house intervened in its own way.
About the opera house in Liège
The friendly atmosphere, the human warmth and the familial character are in themselves something that distinguishes the Walloon opera house from most others. Everything revolves around providing as much Beauty as possible to the audience. And whether that succeeded with the complete version of Don Carlos!
Stefano Mazzonis di Pralafera is not only the director of the house, which you might call an extension of Italy, he is an artistic jack-of-all-trades who is driven and chooses as uncompromisingly as possible for pure opera, the story and the music as the composer and librettist once intended. That has become a great rarity and is even viewed somewhat condescendingly in the opera world. The audience, the artists and the entire team of staff members, however, agree more than once with the vision of the management, and that is highly attractive. It is much more pleasant for the musicians, set builders, costume department and so on to work. It gives ample satisfaction and a sense of deep artistic commitment. Just talk to singers after one more production where the direction fits like a fish out of water with the music and the story, and also talk to singers after such an 'old-fashioned performance' in Liège…
Four hours and three-quarters flew by
"We are presenting the opera in full," was the motto of Stefano Mazzonis, who took on the direction himself. Good reason for extra attention, as it is rare for the complete opera to be performed anywhere. It is among other things for this reason alone that it is a good thing that this performance is being filmed and broadcast on 14 February this year. In my opinion, it should be released on DVD.
With operas that run long, the audience's attention can sometimes wane. Sometimes you even long for the end. Understandable. Equally understandable is that this was not at all the case here. The whole thing is so tightly constructed on every level that you only realize how long the opera was when you glance at your watch: "What? Is it really that late already?"
What did the audience see and hear that provoked such enthusiasm?
The eye was constantly delighted with the beautifully detailed costumes of the great nobility from the 16th century, the time of the Spanish Habsburgs and Philip II. Plenty of Renaissance and you can see that too in the sets, which seem to be cut straight from a Spanish palace of that time. The common people are dressed as they were then, soberly. With skillful lighting design, every scene, whether set in the forest, the chapel or the palace garden, is given color and emphasis. The theatrical element in this opera is abundantly present, and yes, of course the wealth of aristocratic life at that time inspires. It comes back to life on stage.
Don Carlos, the son of Philip II, is engaged to the daughter of the French king with whom his father is at war. To make peace, however, the French king does not give his daughter to Don Carlos, despite the engagement, but to his father, thereby greatly increasing his power and influence in Europe. Elisabeth de Valois will be his third wife. The young couple, who have just declared their desire for each other at length and fantasized about their future, must learn this in the forest of Fontainebleau. A cold shower. It would be one of the reasons why a great rivalry and hatred arose between father and son.
History teaches us that Don Carlos, the heir to the throne, was not in very good health and that he died under still unexplained circumstances at the age of 23. This obscurity is also strongly evoked at the very end of this opera, where Don Carlos steps into the opening tomb of Emperor Karl V, his grandfather.
Verdi and his librettists Camille du Locle and Joseph Méry (inspired by the play Don Carlos, Infant von Spanien by Friedrich Schiller) leave nothing unaddressed to highlight the dictatorial traits of Philip II. The Spanish Inquisition and the oppression of the Flemish and Brabanders, together with the love story between Don Carlos and Elisabeth on the one hand and the loyal friendship between Carlos and Rodrigue, the Marquis of Posa, on the other, is the red thread running through the story. The latter makes it clear to Carlos how the noble people of the Low Countries are being subjected to violence and does everything he can to convince Carlos to come to Flanders to put an end to the oppression. History teaches us that this was also likely attempted by Carlos, but Philip II sent the Duke of Alba, with all the consequences, and Carlos suddenly found 'somewhere' death. Anything but beautiful is the history of the possibly religiously and grandiose-delusional Philip II, who felt strengthened and encouraged in everything by the very harsh repression of the all-powerful Grand Inquisitor.
The oppression by the inquisition comes to life on stage. You see how the heretics, dressed in a fool-like tunic in cages being driven past the Escorial, the megalomaniac abbey palace of Philip II, and how other heretics pull and push the carts while being whipped by soldiers and the people spit at them. They are part of the coronation festival where flag-wavers add color to this macabre celebration. On the small stage of the Liège opera house you would think it impossible, but Mazzonis achieves it: you have the impression of witnessing a very grand event from very close up. It makes the audience silent, you feel people thinking and experiencing emotions.
Singers / actors move
Such a strong story with such direction requires not only an excellent orchestra and choir – and both excelled. I have never heard the orchestra, on which I had made some remarks before, perform better. It could stand comparison with all other major opera houses. Top! Conductor Paolo Arrivabeni was in full force and one bundle of inspiration. That fact, combined with everything happening on stage, could not help but give the singers an extra charge of artistic adrenaline to perform even better.
Let's go through the list. Don Carlos was sung by American tenor Gregory Kunde. What a voice, what an interpretation! He was simply the young, honest, loyal king's son and could move, but other voices would move as well. Italian bass Ildebrando D'Arcangelo delivered an impressive, characterful Philip II. The sustaining dark compelling voice, his penetrating gaze… And then there was that poor Elisabeth de Valois, the woman who would never be allowed to know true love. Although soprano Yolanda Auyanet was ill, she sang this affectionate role with great dedication. A performance that deserved extra applause! The treacherous and too late remorseful princess Ebola, who will betray Don Carlos, Elisabeth and his friend out of jealousy, was perfectly brought to life by Kate Aldrich who was a guest for the first time at the Opéra Royal de Wallonie / Liège.
Who delivered a role that you may or must call world-class without reservation was Lionel Lhote as the Marquis of Posa. The duet where he and Don Carlos swear the oath of friendship and then his death scene, I can place among the greatest interpretations you ever had the privilege to witness. You practically soil yourself, so to speak, when the bloodthirsty Grand Inquisitor sings his deadly words full of compelling demands. Roberto Scandiuzzi, bass, you can hardly imagine in another role. The smaller roles are also each beautifully filled in, more or less modestly, but nonetheless entirely fitting as it should be.
This opera house deserves special commendation because it employs people on the margins of our society in almost every production and thus involves them in the whole and gives them dignity. It is a particularly beautiful gesture of humanity.
What happened to me, I don't yet know, but I could not and cannot shake the impression that this opera production was probably the most beautiful I ever experienced. Our colleague Matthias De Bel was equally speechless and after the applause he said to me: "Actually I never saw a better opera before". That's how you heard that impression confirmed in the corridors as well. A nomination for the Golden Label Opera & Music Theatre is therefore more than justified.
- WHAT: Don Carlos, opera by Giuseppe Verdi to a libretto by Camille du Locle and Joseph Méry
- WHERE & WHEN: Opéra Royal de Wallonie, Liège, premiere January 30, 2020
- WHO: direction: Paolo Arrivabeni - Orchestra and choir of the Opéra Royal de Wallonie – direction: Stefano Mazzonis di Pralafera – sets: Gary Mc Cann – costumes: Fernand Ruiz – lighting: Franco Marri – choir direction: Pierre Iodice
- VOICES MAIN ROLES: Gregory Kunde, Ildebrando D'Arcangelo, Yolanda Auyanet, Kate Aldrich, Lionel Lhote, Roberto Scandiuzzi
- IMAGE MATERIAL: © Opéra de Wallonie
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