Verdi - Don Carlos (Original French Version) / Pappano, Alagna, Hampson, Theatre du Chatelet
by Yves-André Hubert
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DVD Cover Information
Actor: José van Dam, Karita Mattila, Roberto Alagna, Thomas Hampson, Waltraud MeierDirector: Yves-André Hubert
Cinematographer: Martial Barrault
Editor: Philippe Baillon
Producer: Beatrice Dupont
Writer: Camille du Locle
Writer: François Joseph Méry
Writer: Friedrich Schiller
DVD: Region Code 1
Audio: English (Unknown); English (Subtitled); French (Original Language), Unknown
Format: Classical, Color, DVD, Full Screen, NTSC, Subtitled
Picture Format: 1.78:1
Running Time: 213 minutes
DVD Release Date: 2003-09-16
Audience Rating: NR (Not Rated)
Studio: Kultur Video
Movie Reviews of Verdi - Don Carlos (Original French Version) / Pappano, Alagna, Hampson, Theatre du Chatelet
Movie Review: One of the Best Opera DVDs Period
Summary: 5 Stars
Pappano led an achingly beautiful performance with excellent work from the
orchestra and chorus. I find this to be one of Verdi's most unusual
scores - at times the music is so far different than nearly anything else he
wrote; simultaneously sounding traditional yet remarkably modern. Pappano
brought out all of these elements and his pacing was beautiful, never once
feeling either dragged out or rushed.
I've had ups and downs in my listening experiences with Roberto Alagna, but
here, vocally and dramatically he perfectly captured every nuance, every
strength and every heartbreaking weakness of this character reminding me
throughout of Hamlet. He was in astonishingly beautiful voice, his tone
ringing and with a remarkable sheen. His ability to shade the voice in a
variety colors and dynamics made this an uniquely individual portrayal.
The production is quite simple and effective, placing the emphasis on the
story telling and the music (in my opinion, that's as it should be).
I'm not certain how much rehearsal went into this production by Luc Bondy,
but there was not a false moment throughout this opera's considerable
length. Every detail, every movement flows with a rare and natural ease.
In Gilles Aillaud's sets, Moidele Bickel's costumes and Vincio Cheli's
beautiful lighting, every frame looks like a Murillo or El Greco masterpiece
come to life. Two particularly arresting images stand out in the St. Just
scene; the first, just before the the entrance of Philip and Elisabeth -
Carlos accepts Posa's request to return with him to Flanders, as Carlos
kneels, Posa rests his head Carlos's shoulder. The second such moment
follows the King and Queen's procession; Carlos extends his right arm out
towards the now offstage couple as Posa grabs his other arm preventing his
friend from following; creating a canvas of tortured angles: all arms,
necks, heads, legs, backs, walls and shadows - all transformed into a tragic
study of pain and rejected comfort.
The Fontainebleau scene is remarkable. In this barren forest of white trees
Carlos and Elisabeth in their deep crimson costumes become as a single heart
beating in a forest of death. Karita Mattila brings a certain dramatic
quality that I've not encountered before in this role - at first coltish,
almost tom-boyish, when Carlos lights the fire in the woods. Then, as he
mentions that she will marry the son of Philip, she becomes girlish,
nervous. In just these few moments she's already established a bewitching
character. In the manner of a true princess, this Elisabeth appears to be
slightly vague about herself, but it is clear she is smitten and flirts with
Carlos. Her outward strength, however, is just that - a facade - for too
soon it becomes obvious that this is a girl raised at court who knows full
well that she is but a pawn and will play the part she's given. At the
horrible news that she is to marry Philip instead of Carlos , they are both
crushed as the chorus, in ghostly white, enters singing her praises. As
they lift her into the air and place her on a white horse to be led away,
she knows she is not only leaving behind home but any dream of happiness.
All turn their backs to Carlos who alone falls onto a rock, destroyed
"Destiny has shattered my dreams." Having seen this scene so beautifully
staged, I simply can't imagine its being left out of any production again.
Throughout this production the electricity between all of the characters is
stunning, and the physicality of the scene between Carlos and Elisabeth
outside of the convent takes on a desperate violent quality that is, to say
the least, startling.
As Rodrigue, Thomas Hampson gives what has to be one of his best
performances. Combining humility, loyalty, compassion, pride and a sense of
justice, his Posa is remarkably complex, and by far one of the most
interesting good guys in all of Verdi. The voice is never big, but rich,
well controlled and his sense of phrasing and attention to detail nothing
short of remarkable. He also has a wicked good trill. At times, especially
in his big scene with Philip, Hampson's voice seems to take on a tenorial
quality - a remarkably lyrical Rodrigue, but with a sure sense of strength
of purpose.
And, ah that Philip. Mr. Van Dam is a marvel; firm of tone, every word
distinct and filled with meaning. The role, while at times a little low
lying for him, fits like a glove. I have always want to hate Philip, but in
this production he seems more pathetic, more a pawn of the Inquisitor, than
I've experienced before. Van Dam pulls off this vulnerability without once
sacrificing the strength of his character. Very interesting
characterization.
Waltraut Meier couldn't have been anybody's idea of an ideal Eboli, yet, she
inhabits the character so fully turns in a magnificent performance, and
looks damned stunning in doing so. Her vocalism in the Veil Song was kind
of bizarre - it had a "warble" like quality that made it difficult to tell
just what pitch she was actually on, yet she was beguiling and pulled it
off. Once that was out of the way, everything else came from strength. I
do wish that this mezzo would cultivate some chest voice. Her low notes
seem to be her weakest and they sound exactly (except nearly inaudible) as
her middle voice.
Mattila is just a wonder. The voice is capable of so many colors while
retaining a unifying, very individual sound. It is a tough voice to place
into any specific category: it's capable of riding the orchestra and cutting
through it with laser like clarity, yet it retains a sweetness most unusual
to the typically "steely" type of voice that I often associate with
accomplishing that type of singing. Her sustained high piano singing is
nothing short of miraculous, she takes a thin thread of sound that is
perfectly placed and as clean as I could ever imagine (e.g., her farewell to
her exiled lady in waiting), other times she produces an effect that sounds
just as silk gauze feels (reminding Carlos she is now his mother) - it's all
piano, but she sings these moments entirely different from each other.
Remarkable. Every movement, every gesture came directly from her Elisabeth
and went straight into my heart.
With the least amount of stage time, Eric Halfvarson's twisted, crippled
Grand Inquisitor truly becomes a dominant central figure and the very
physical embodiment of evil as he sets a tale of corruption, politics and
religion already near chaos and spins it completely out of control.
I have so much positive to say about this production that I feel I could
write a book on it (don't worry). Nearly every moment in this long work is
filled with heartbreaking magic and beauty, Posa's death scene perhaps
taking place of honour. The Chatelet audience responded with a thunderous
and extended ovation. I wish I'd been there.
More Verdi - Don Carlos (Original French Version) / Pappano, Alagna, Hampson, Theatre du Chatelet reviews:
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1 2 3 4
Summary of Verdi - Don Carlos (Original French Version) / Pappano, Alagna, Hampson, Theatre du Chatelet
The original French version in five acts by Ursula Günther, revised after the original version by Ursula Günther and Luciano Petazzoni. Published by Ricordi Milan.Similar DVD Movies
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