DON CARLO - PARIS
Opera
Opera in five acts composed by Giuseppe Verdi to a French-language libretto by Joseph Méry and Camille du Locle, based on the dramatic play Don Carlos, Infant of Spain by Friedrich Schiller. The opera is most often performed in Italian translation, usually under the title Don Carlo.
It was commissioned and produced by the Théâtre Impérial de l'Opéra (Paris Opera) and given its premiere at the Salle Le Peletier on 11 March 1867.
The first performance in Italian was given at Covent Garden in London in June 1867. The first Italian version given in Italy was in Bologna in October 1867. Revised again by Verdi, it was given in Naples in November/December 1872.
Finally, two other versions were prepared: the first was seen in Milan in January 1884 (in which the four acts were based on some original French text which was then translated). That is now known as the "Milan version", while the second—also sanctioned by the composer—became the "Modena version" and was presented in that city in December 1886. It restored the "Fontainebleau" first act to the Milan four-act version.
Performances
Opera National de Paris
Oktober 25th 2019
Oktober28th 2019
Oktober 31th 2019
November 04th 2019
November 07th 2019
November 11th 2019
Cast
René Pape - Philippo II
Roberto Alagna - Don Carlo
Etienne Dupuis - Rodrigo
Vitalij Kowaljow - Le Grand Inquisiteur
Aleksandra Kurzak - Elisabeth De Valois
Anita Rachvelishvili - Princesse Eboli
Fabio Luisi - Direction Musicale
Krzysztof Warlikowski - Mise en scène
Małgorzata Szczęśniak - Décors eet costumes
Orchestre et Choeurs Opéra National de Paris
Press Review
Opera Online - Alain Duault - 11/11/2019
❝ Clear vocal production, admirable projection, youthful top notes, intelligence of the melancholic tone coloration, fiery intensity of the acting ❞
EXCERPT (from French): "An exceptional vocal cast. The title role which Roberto Alagna takes upon his strong shoulders seems to be transfigured, mixing in this Italian version the different qualities of our great French tenor, a frank, clear, admirably projected vocal production (which explodes from his very first words: "Fontainebleau! Foresta immensa e solitaria! "), the top notes of a young singer and a medium that he knows how to darken to deploy - as the course of the drama - an intelligence of the melancholic tone coloration. As for his acting, he knows how to make full use of all his art with a fiery and incredible intensity that calls for admiration: Don Carlo is there, torn, fighting, upset, poignant."
Les Echos - Philippe Venturini - 11/11/2019
❝ Five-star cast, singing at the zenith. Roberto Alagna superb, of vigor, fieriness and sensitivity. Admirable. ❞
EXCERPT: "A five-star cast, singing at the zenith." Yes, yes, he sings tonight," could we hear, relieved. On this second performance of "Don Carlo" weighed indeed a question: will Roberto Alagna be back on stage after his departure midway, the evening of the premiere? The microbes having probably found a favorable ground between these walls, it is René Pape who, in turn, will be announced suffering, at the second intermission, but will perform the full show. Sick or not, both have greatly contributed to the musical brilliance of a performance at the highest level. Admirable. The French tenor is superb, of vigor fieriness and sensitivity, embodying this fragile young man who seeks the admiration of his father and passionately in love with Elisabeth."
And...
❝ Captivating, homogeneous voice, legato to die for, infinite breath, well-hold notes, audible piani, well-asserted medium, full, powerful and frank vocal tone, magic and paradoxical blend of still youthful and more mature singing at once, natural power, indisputable top level.. ❞
[During this first performance of 25/10/2019, Roberto Alagna - suffering from a flu - was forced to give way to his cover Sergio Escobar at the end of Act II].
► "The first part is really well done, the voice is homogeneous, with a well-asserted medium and frank top notes. The" Foresta immensa" legato to die for, sang with infinite breath could be reassuring. The duet with Posa remarkable of precision and the sublime "Io vengo domandar grazia alla mia regina", in perfect symbiosis with Aleksandra Kurzak, foreshadowed a great evening ... The flue will have decided otherwise. [...] "- Steeve Boscardin, Res Musica
► "The beginning of the performance shows him in rather good shape, with a magic and enchanting blend of singing that has remained still youthful and paradoxically also more mature at once. The notes are well hold, the piani audible. Slightly less supple than usual, but one hardly ever notices. The end of Act I is beautifully negotiated, with a low range that seems to have suddenly transformed the fiery young man in one broken by the coming out of a collapsing world. " - Maria Stuarda, Toute la Culture
► "Roberto Alagna captivated us from his very first notes, with this full, powerful and direct vocal tone, but with clean and polished edges. His duet with Étienne Dupuis (Don Carlo and Rodrigo) was a moment that the attenders will never forget . " (translated from Spanish) - David Farrés, OperaWorld
► "Roberto Alagna began his performance in what seemed to be the perfect form. His voice, always young, vibrating to render the character's anxiety, seemed moving and convincing. With his signature sound, the tenor earns an absolute confidence with the lower nuances of his voice ... Unfortunately, after the first intermission, the public was informed of the tenor’s replacement. " (translated from English) - Polina Lyapustina, Operawire
► "Roberto Alagna brilliantly started with his Don Carlo in the first and second act. Some hard-to-reach highs did not reveal the indisposition that afflicted the tenor since the beginning of the performance. When he abandoned at the first intermission it was a great disappointment for the audience who had heard him in great shape in the first part. " (translated from Italian) - Gustavo Gabriel Otero, L'ape musicale
► "Roberto Alagna started beautifully, generously. His warm and secure mediums, his bright sounding top notes, his natural power show the indisputable top level of the French tenor." - Quentin Laurens, Webtheatre
Gallery
12/10/2020
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