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2012-9, Vienna, Don Carlo

Don Carlo

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: Vienna Staatsoper
04, 07,10 and 13 September 2012

Conductor: Franz Welser-Möst
Director:
Daniele Abbado
Performers:
Philipp II. : René Pape
Elisabeth von Valois, seine Gemahlin: Krassimira Stoyanova
Don Carlo: Giuseppe Gipali
Rodrigo, Marquis von Posa: Simon Keenlyside
Prinzessin Eboli: Luciana D`Intino

 

Sound Bites

translations by Petra Habeth below

Wilhelm Sinkovicz, Die Presse.com, 6.9.2012

” …  Auch Sion (sic!) Keenlysides Herzog von Posa ist von solcher Qualität: Belcanto-Linienführung, aufgeladen mit Espressivo, das macht schon sein schwieriges Arioso zwischen den beiden großen Frauengestalten im zweiten Bild zum Ereignis und steigert sich bis zum Todesbild zu enormer Intensität. Der Bariton ist fülliger als je zuvor, hat aber nichts von seiner Modulationsfähigkeit eingebüßt. …”

“… Also, Sion (sic) Keenlyside, duke of Posa, is such [high]quality: his belcanto line is expressively charged, he creates an event out of his difficult Aria between the two female characters in the second scene and this increases to a tremendous intensity as his death approaches. His baritone is fuller than ever, but has lost none of its ability to modulate. …”

Stefan Eder, Der Standard, 6.9.2012

” … Simon Keenlyside verausgabt sich als Rodrigo etwas zu sehr. …”

” … Simon Keenlyside works himself too much into the ground as Rodrigo. …”

Maria und Johann Jahnas, Der Neue Merker.eu, 5.9.2012

” … Simon Keenlyside singt den Rodrigo traumhaft schön – im Leben wie im Sterben. Der Szenenapplaus und die vielen Bravorufe waren hochverdient. …”

” … Simon Keenlyside sings Rodrigo with a wonderfully dreamlike quality – in life as in death. The applause after each scene and the bravos were richly deserved. …”

Kurt Vlach, Der Neue Merker.eu, 5.9.2012

” … Ein weiteres Highlight der Posa des Simon Keenlyside. Im jetzigen Stand seiner Karriere ist das sicherlich seine beste Rolle. Konnte man noch vor ein paar Jahren Einwände gegen seine Interpretation des Macbeth vorbringen, so ist ihm der Posa auf den Leib geschrieben. Keenlyside verkörpert diesen eleganten und freiheitsliebenden Idealisten – nicht nur physisch, sondern auch durch seine sehr eindringliche Interpretation. Er hat großartige Tiefen und ist gleichzeitig auch höhensicher. Das war für mich die beste Vorstellung, in der ich Keenlyside seit langem gesehen habe (genauer – seit Billy Budd). …”

” … Another highlight is Simon Keenlyside’s Posa. At the present stage of his career it is certainly his best role. Even though, a few years ago you could object to his interpretation of Macbeth, this Posa is tailor-made for him. Keenlyside embodies these elegant and freedom-loving idealists – not only physically, but also by his very striking interpretation. He has great (vocal) depths and is at the same time is sure of his high tune . For me this was the best performance in which I have seen Keenlyside for a long time (or more precisely – since Billy Budd). …”

{ 1 comment… read it below or add one }

Jane September 6, 2012 at 3:31 pm

Forgive me – I have been a complete philistine and shoved all these comments into google translate and then combined with my very basic German, I have more or less got the gist of what is being said. It seems to be generally very complimentary, as we would expect!
~ Jane

PS Good to see that Simon appears to be fine, after being slightly concerned when he didn’t sing in Salzburg at the weekend, as scheduled. However, I did think it a bit odd that there was no mention of it anywhere beforehand and then suddenly he was supposed to be singing there.

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