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One for the History Books

Mary Ellyn Hutton
Posted: Jun 26, 2009 - 2:55:43 PM in reviews_2009

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finale "Don Carlo" act III, Cincinnati Opera, June, 2009 (photos by Philip Groshong)
Now that's grand opera.
   Cincinnati Opera's "Don Carlo," which opened June 25 at Music Hall in Cincinnati, does much more than hold a candle to "Aida," the blockbuster the opera regularly relies upon.
   With a potent cast and a production matching the gravitas its subject matter, Verdi's historical drama literally blew its audience away.  One hopes that word will spread that this is one for Cincinnati Opera's own history book.
   Headed by bass James Morris as Philip II of Spain, it was a cast that distinguished itself not only vocally but theatrically, a word not usually associated with this opera, but as directed by Sandra Bernhard, true to its personal as well as its epic political dimensions.
   "Don Carlo" (originally "Don Carlos" and sung in French) was performed in Verdi's 1884 Italian version, with four instead of five acts. Set in 16th century Spain and based on Schiller's play "Don Carlos," it weaves together issues like church and state, loyalty versus the struggle for freedom, and love stories on several levels.  There is Carlo and Elisabeth's love for each other, Princess Eboli's love for Carlo, Rodrigo and Carlo's brotherly love and King Philip's complex devotion to his son, his wife and Rodrigo, who is his most trusted advisor.
   The events are based loosely on history.  Don Carlo, heir to the Spanish throne, has fallen in love with Elisabeth of Valois, the French princess he was supposed to marry for political reasons until Philip decides to marry her himself, thereby making her Carlo's stepmother.  Elisabeth returns Carlo's love, but remains loyal to Philip.  Meanwhile, the Spanish princess Eboli loves Carlo and thinks he returns her love until she learns otherwise.  Rodrigo, a Grandee of Spain and Carlo's best friend, has sided with the people of Flanders who are trying to break free of Spanish rule.  Philip, none the wiser, considers Rodrigo his closest ally.  Carlo is so miserable over his futile love for Elisabeth that he decides to side with Rodrigo and forge a new life for himself as savior of the Flemish.  
  This causes all kinds of trouble.  The jealous Eboli betrays Elisabeth to the king, then repents and gets banished.  Rodrigo tries to save Carlo but gets killed in the process.
   The big spectacle -- which presages the later triumphal scene in "Aida" -- takes place in the public square in Madrid, where a crowd has gathered to celebrate Philip's coronation and coincidentally, witness the latest auto da fe (burning of heretics).  A delegation from Flanders (compare the Ethiopian captives in "Aida") comes to beg relief from their sufferings.  There is trumpet-filled music as in "Aida," but it is not as memorable, and instead of a ballet, a group of heretics enter bearing their own cross as if on the Via Dolorosa.  
   The opera ends with a genuine deus ex machina.   As Carlo is about to be apprehended at the monastery where his grandfather, Holy Roman Emperor Charles V, is buried, the emperor himself (bass David Michael) appears in a blinding flash of light and leads him to safety inside.
   Everyone in the cast had his or her big moments.
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L to R: Frank Porretta (Carlo), Angela Brown (Elisabeth) and James Morris (King Philip) (Philip Groshong)
Tenor Frank Porretta, in his Cincinnati Opera debut, gave notice with his grief-laden "Io l'ho perduta" at the very beginning of act I (a hard assignment) that he is an operatic find of the first order, demonstrating vocal heft and beauty throughout the evening.
   Soprano Angela Brown as Elisabeth lit up act IV (at the tomb) with her five-part "Tu che la vanita," where the young queen, still homesick for France, reveals the full range of her emotions.  
 
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James Morris as King Philip
Morris' "Ella giammai m'amo," where Philip laments that Elisabeth has never loved him and that he will die alone, was the most affecting moment in the entire opera.  Robed in a dark, fur-lined dressing gown, Morris poured out the king's feelings in a voice laden with sorrow.  Conductor Richard Buckley, an eminent Verdian, may have miscalculated a bit here, and the Cincinnati Symphony Orchestra was sometimes too heavy.  Assistant principal cellist Norman Johns got it just right, however, in his sensitive solos, crafting phrases that spoke directly to the heart.
   Also making their Cincinnati Opera debuts were mezzo-soprano Michelle DeYoung as Eboli and baritone Marco Caria as Rodrigo.  DeYoung soared in her despairing, blazing "O don fatale" where Eboli curses her beauty and pledges to help save Carlo.  Caria's farewell to Carlo at the prison ("O mio Carlo") was heart-felt and full of warmth and conviction.
 
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Morris Robinson as The Grand Inquisitor
Bass Morris Robinson, new to Cincinnati Opera but not Cincinnati, having sung three major roles with the Cincinnati May Festival, was an imposing Grand Inquisitor, wielding his sepulchral voice with total malediction over a two-octave-plus range.   He made the 90-year-old, blind cleric convincing visually, too, groping his way along with the help of younger assistants and tapping the floor impatiently with his cane.  "Force!" ("Perhaps!") he spat, as he took scornful leave of the king after their act III confrontation.
   Ensembles and choruses were stirring and uniformly excellent throughout the opera.   The act three quartet with Rodrigo, Philip, Elisabeth and Eboli ("Ah, sii maledetto") was thrilling.
   The production, from Hawaii Opera Theatre, Vancouver Opera and Opera Hong Kong, was massive, with towers at the sides and a brick wall enclosing a huge black void at the rear of the stage in the monastery scenes (acts I and IV).  A great wooden cross hung before it.  Predominantly dark colors were set off by reds, golds and occasional blinding whites, as when Charles V appeared at the end.  Carlo was left in a circle of white light after the act II finale in the public square as scarlet hues swept over the stage signaling the flames of the auto da fe.
 
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James Morris (left) as King Philip, Marca Cario (kneeling) as Rodrigo
Costumes were sumptuous and of the period, with lots of blacks, whites and browns.  Philip's ermine, red-lined cape and jewel encrusted crown in the coronation scene were particularly luxurious and eye-filling.
   The CSO performed splendidly, with assertive brass and characterful winds.  In short, this was an epic evening for Cincinnati Opera, long to be remembered.
   Repeat, in Italian with English surtitles, is 7:30 p.m. Saturday (June 27) at Music Hall.  Tickets are $26-$152 at the Music Hall box office, 513-241-2742, or order online at www.cincinnatiopera.org