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2010-01 Munich, Don Carlo

Don Carlo

2010 Don Carlo Munich BSO 02

Composer: Guiseppe Verdi
Librettist: Joseph Méry and Camille du Locle after Schiller’s drama, Cormon’s drama and Prescott’s history. Revised in 4 acts by du Locle, translated into Italian by Angelo Zanardini based on Achile de Lauziéres’ original version
Venue and Dates: Bayerische Staatsoper
6, 10, 14, 17 January 2010
Conductor: Marco Armiliato
Direction, sets, costumes and lighting concept: Jürgen Rose

Performers:
Philip II: Matti Salminen
Don Carlos: Yonghoon Lee
Rodrigo, Marquis de Posa: Simon Keenlyside
The Grand Inquisitor: Paata Burchuladze
The Monk: Steven Humes, Christoph Stephinger (10.1.)
Elisabeth von Valois: Anja Harteros
Princess Eboli: Nadia Krasteva
Tebaldo:  Laura Tatulescu (6.1./10.1.), Lana Kos
The Conte di Lerma: Kenneth Roberson
Herald: Francesco Petrozzi
Voice from Heaven: Elena Tsallagova
Notes: To be revived and as part of the Münchner Opernfestspiele, July 2010

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Soundbites

Thomas Willmann, München Merkur 8.1.2010

Translation by Petra Habeth

“…. “Yonhhoon Lee is indeed one of the modern tenors who is rated as agreeable from a  vocal point of view. But the adolescent fire seemed studied at best, the charisma of a real revolutionary leader is lacking. You would have put such a downfall past Simon Keenlyside’s Rodrigo: a very realistic utopian, with assured clarity but also a little bit monochrome. ……
In its whole a delightful  evening. The greatest slice of the applause went to  Harteros – surely expected by her but also deserved.”   complete translation to follow

Prof. Dr. Michael Bordt, magazine.klassik.com

Translation by Marion Peeball

Light and shade

No, the spark of this revival of Giuseppe Verdis ‘Don Carlo’ in the Bavarian National Theatre did not really catch fire at first. Maybe it was due to the fact of a general nervousness of the protagonists, maybe that, however, it has not been rehearsed enough. Only in the second part, in the fourth and fifth act, one could experience a performance which did justice to the high level and the reputation of the singers under contract for this production.

Especially problematical was the entrance of Yonghoon Lee in the title part. As if it was a matter of winning a competition in stemming the high notes and forcing, he at first threw himself in his role. Above all, the first Fontainbleau act suffered from this, but the big duet between him and Elisabeth in the second was also affected. As Elisabeth, one could hear Anja Harteros for the first time in Munich. With a breathy voice, she sounded nearly indisposed all evening. She in fact reached a fascinating solemn piano – above all in the final duet of the opera – and wonderful legatos, but she did not seem really to have arrived in the role or the staging yet. With all his acting abilities, Matti Salminen as Philip II simply lacked the vocal penetrating power. The fact that the audience could also not bring itself to a spontaneous stage applause after his duet with the Grand Inquisitor, sung by Paata Burchuladze, shows that Burchuladze also lacked the last demoniacal strength in his interpretation. Nadia Krasteva with her strong alto as Eboli felt distinctly more comfortable in her second aria ‘O don fatal’ than in the veil aria, which requires an ease which she does not possess. Simon Keenlyside whose clear, noble voice seems to be meant for the part of Rodrigo, sometimes had problems drowning out the orchestra, but his great farewell and death scene in the fourth act was among the most impressive moments of the evening.

Marco Armiliato directed the orchestra minimally and was friendly to the singers, but he did not succeed in building up big tension curves. For example, the orchestral accompaniment in the aria of Philip and the next duet with the inquisitor, turned out to be insignificant and a little sharp. Attractive triviality on the stage. If you like a costurme drama and a historical masquerade you will be happy with the direction of Jurgen Rose

Anyone who expects from a staging not only nice pictures and some absorbing, suggestive inspirations, but an interesting perspective on a work, will have been disappointed by his illustration which is conceptually poor.

A lot of applause, above all from the fans in the gallery.

all Performance-photos: Wilfried Hösl

Curtain call photos from 6, 14 and 17 January

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{ 2 comments… read them below or add one }

Chrys Atwood January 8, 2010 at 9:33 pm

I love this last pic also! And the new site format is terrific, especially the photo gallery with option to enlarge instead of scrolling through all pics. You gals are the best!!

yappy January 7, 2010 at 8:21 pm

Hello,

thanks so much for these photos – especially the last one. 😀
I was so hoping to go to Munich, but all the shows were sold out when I tried to get a ticket.
And good luck with the new website version. I’ll definitely keep reading.

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