The Ridiculous and the Sublime

Ditlev Rindom

martes, 13 de octubre de 2009

Londres, domingo, 27 de septiembre de 2009.

The Royal Opera House, Covent Garden. Giuseppe Verdi, Don Carlo. Nicholas Hytner, director. Bob Crowley, designs. Mark Henderson, lighting design. Scarlett Mackmin, movement. Terry King, fight director. Alfred Kim (Don Carlos), Pumeza Matshikiza (Tebaldo), Marina Poplavskaya (Elizabeth of Valois), Robert Anthony Gardiner (Count of Lerma), Elizabeth Woods (Countess of Aremberg), Robert Lloyd (Carlos V), Simon Keenlyside (Rodrigo, Marquis of Posa), Ferruccio Furlanetto (Philip II), Marianne Cornetti (Princess Eboli), Téo Ghil (Priest Inquisitor), John Cunningham, Daniel Grice, Lukas Jakobski, Dawid Kimberg, Changhan Lim, David Stout (Flemish Deputies), Eri Nakamura (Voice from Heaven), John Tomlinson (Grand Inquisitor). The Royal Opera House Orchestra and Chorus. Renato Balsadonna, chorus master. Semyon Bychkov, conductor

One of the most striking aspects of this season’s programme at Covent Garden is the number of revivals of earlier productions, reuniting more-or-less the original cast for what is presumably expected to be a sure-fire popular success. Later on in the year is La Fille du Régiment with Juan Diego Florez and Natalie Dessay; before that there is Il Turco in Italia with most of the 2005 team; and here opening the season proper is Verdi’s Don Carlo, which took the summer out with a bang in June 2008. That earlier performance was marred by Rolando Villazon’s recurrent vocal problems, and the introduction now of Jonas Kaufmann raised hopes that previous inconsistencies would have been ironed out. In the event, the revival has proved to be something of a mixed bag, with its constituent elements ranging from the sublime, the stolidly professional…

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