“Mio Carlo”

(To Viv, opera buddy.)

For a blog with “Don Carlo” in the title, I’ve written surprisingly little as yet on this, my favorite, opera. (Truthfully, I haven’t written as often as I’d like to in general.) Perhaps it is that trepidation that one has approaching a beloved subject…how to express thoughts in words that do it any justice? In time, I hope to explore this opera here in more depth, as I continue to learn.

Today, however, it has been a year since the opera obsession started; it feels like a good time to take a pause. This blog has been about the “opera journey”–more the opera than the “journey”– from a beginner’s perspective…not because my journey has any significance, but just because it is too joyful not to share. But this post, more personal, relates to what will be a huge milestone and joy for me in the coming year…thanks in great part to “mio Carlo,” Viv.

Rodrigo (Thomas Hampson) comforts his Carlo (Jonas Kaufmann). Don Carlo, Salzburg 2013.

About eleven months ago I saw my first recording of Verdi’s Don Carlo, the 2013 Salzburg production with Jonas Kaufmann, Anja Harteros, and Thomas Hampson. The opera became my favorite quicker than you can say “bromance.”

Why Carlo? (How shall I count the ways?) Phenomenal characters, complex relationships (talk about dysfunctional family!), glorious music, chilling and captivating political and religious themes…it has it all. It’s the Hamlet of opera, in combination with some of the intrigue of the history plays. But more than that, Don Carlo has, to me, the most moving relationship in any opera: the brotherly, self-sacrificial love between Don Carlo and his friend Rodrigo, the Marquis di Posa, who is caught between his affection for Carlo and his concern for the suffering of the people of Flanders under the heavy hand of Carlo’s father, King Philip II of Spain, and the Inquisition. To stretch the Hamlet connection, the Carlo/Rodrigo friendship has a bit of a Hamlet/Horatio dynamic–albeit with a stronger, more proactive “Horatio.” One, Carlo, is “passion’s slave,” haunted by a disastrous personal crisis in the midst of political ones–the other, Rodrigo, a staunchly loyal friend who sees the potential in him.

I’ve always had a soft spot for stories about male friendship. (I hesitated before seeing a version of the opera, after hearing the friendship duet on youtube–love at first listen–because I feared that Rodrigo would turn against his Carlo in the end, or that it’d end up being more rivalry than friendship.) But, not to spoil it, Verdi not only pays off the incomparably beautiful duet, a glorious tribute to friendship, but does so in a big way. I hope you will experience a version of this opera if you haven’t already…I eventually get around to writing a bit on those I’ve seen and heard.

My friend Viv (below) has often tried to guess which opera-relationships would likely be a success, if not hampered by the death and villainy that goes with the opera territory. (Would Mimi and Rodolfo honestly make it “in real life”? Tosca and Mario? Calaf and Turandot? It does make one pause…) I can only say, without a doubt, that Carlo and Rodrigo would make it. 😉 That’s the difference in this opera, an opera where the love serves the ideal, and the ideal the love; where friendship is deeper than the (sometimes) shallow ebb and flow of opera romance, where love is truly stronger than death and disappointment. It’s the bond of brothers.

Not unlike this friendship, the community of those who love opera is also close-knit. Opera friends are immensely enthusiastic and warm in sharing their joy, recommendations, practical help and advice…even sending/exchanging CDs or DVDs that they love or want to pass along. (One of mine just went out in the post to a friend the other day, and hers to me before that.) Listening to opera together, sharing knowledge and thought and insight. Opera buddies make life more and more beautiful all the time. My parents are hooked, and have not only tolerated but supported their daughter’s mad hobby, and will even listen to Wagner with me…a beau geste indeed. 😉 We’re all Carlos and Rodrigos to one another.

jonas-viv-selfie
Jonas Kaufmann and Viv Hannides, 18 Jan 2017. Our Jonas took this “selfie.”

Around the time of my first Don Carlo, my long-distance friend Viv Hannides (fellow Kaufmanniac and Opera Enabler Extraordinaire, who allowed me to mention her name and snag a photo of hers–on the left–for this post, without knowing why) told me that there were rumors of a production of the French-language version—Don Carlos, as it is typically called in that version—to be performed at the Opéra National de Paris (Bastille) for the 2017-18 season, with Jonas in the title role. This would be historic on several levels: the stellar cast (more on that below) and the novelty of its being the full, 5-act French version. (They will apparently be doing the 5-act Italian version the following season.) Viv, who has a Paris Opera subscription, offered to help me get tickets, even back when we had just started to connect, if I wished to try for it when the time came.

Well, I knew I would have to try. It would perhaps be my first, or even only, chance to see/hear our tenor in person. (And who knows what can happen in a year’s time?) Sure, Jonas will doubtless be at the Met again soon enough–perhaps even next season, as there are rumors of a Tosca with his Cavaradossi–and what a dream that would be! We’ll soon find out for certain. But…this is Don Carlos! And, so my thinking went, it would be—from the time I first heard the rumors—a year and a half to two years away, depending on what point in the season it was performed. I had a bit of time to save, and plan. (Well, how time does fly…)

jonas-and-rene-1
A gift from Viv, October 2016.

And what can I say of dear Viv? If only I could count the number of times generous, beautiful, hilarious Viv has made me laugh, and cheered me up with delightful, outrageously-altered pictures of my opera heroes (mostly Jonas and René Pape). And I don’t know at what point Viv became nicknamed “mio Carlo” by me—someone pointed out that we will have to start saying “mon

Another gift from Viv, New Years' Eve, 2016.
Another gift from Viv, New Years’ Eve, 2016.

Carlos,” in keeping with the French version—and I her “Rodrigo,” but so it is. I believe I did mention a number of times wanting “to be Rodrigo when I grow up,” after encountering Thomas Hampson’s portrayal of the opera hero in the Salzburg production. (Really, though, she has been more the Rodrigo than I, the one to go above and beyond constantly…and has made for this distant “fanciulla del West” feel less distant from the hub of European opera than she really is.)

Most recently, she has redoubled my joy at the return of Jonas–in the Paris Lohengrin–after his months of recovery from the vocal injury. Viv was there the first night, January 18th, and stayed hours after to wait for him to come out after the show, keeping me posted as she waited.

Knock me down with a feather...
Knock me down with a feather…

Little did I know that a large part of her intent was to have our hero sign something for his long-distance fan who has not been able to see him in person yet. I won’t try to describe the emotion here. (My poor mom, who happened to be around at the time, had to put up with constant, weepy interruptions…) Not only to see my name in Jonas’ hand, but, even more, touched that “mio Carlo” would have even thought to take the time out of those few, precious moments—really, how often are we in close proximity to Jonas Kaufmann?–to think of her Rodrigo, so far away.

Photo credit: from the Espace Lyrique facebook post of Oct 2016.
Photo credit: from the Espace Lyrique facebook post of Oct 2016.

Now, of course, the official announcement about the long-rumored production is out. It looks to be one for the ages, full of our “opera heroes.” The Bastille is indeed putting on the 5-act Don Carlos in French, with not only Jonas Kaufmann in the title role, but Ildar Abdrazakov as Philippe II, Ludovic Tézier as Rodrigue, Sonya Yoncheva as Élisabeth de Valois, and Elīna Garanča as Eboli. (I still can’t quite believe it…)

To put the icing on the cake, “our” Rodrigo, Thomas Hampson, is in a production of The Merry Widow at the same venue, only the night before! Tickets bought, and there’s no way we can’t get to Paris now. (I’m afraid, once there, it will not be possible to tear me away…)

Of course, getting the tickets are only step one, but we’ve done it. Paris, October 2017, here we come! (Somehow! Extra shifts at work, a few extra sewing orders, a little less sleep…for Carlos? For Thomas, Jonas, Ildar, Ludovic, Elina? Absolutely. Sleep is overrated anyway! :)) Again, Viv saved the day, spending hours navigating internet delays the moment ticket sales went up for Carlos. Truly, another huge gift…I don’t know how it could have been done otherwise.

Just…please God, keep every one of this beautiful cast in good health, for their sakes mostly…and ours too. Anyway, whatever happens, we’ll be able to say:

It is a dream-made-reality. Thanks, all my dear opera buddies and family…thanks for sharing the joy and knowledge constantly. “Vivremo insiem!”

And thank you so much, mio Carlo!

Dio, che nell’alma infondere
Amor volesti e speme
Desio nel cor accendere
Tu dêi di libertà;
Giuriamo insiem di vivere
E di morire insieme;
In terra, in ciel congiungere
Ci può la tua bontà.

~~~

God, who has brought us together,
Fire our hearts with flames of glory,
Fire that is noble and pure,
Fire of love that will set men free!
God, grant that this love may fire us,
May freedom call and inspire us!
Accept the vow that we swear!
We shall die united in love!

(Translation by Andrew Porter, for the English National Opera’s guide, Don Carlos/Don Carlo, 1992.)

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Month #1 of (mostly) Met-on-Demand

*Note #1: if we’re friends on Facebook, you’ve probably seen these notes already…

**Note #2: These are very informal–and too lengthy–impressions from an opera newbie!

***Note #3: “Cliff’s Notes” Version of this post: Please see the 2011 Don Giovanni and the 2007 Eugene Onegin, if I absolutely must narrow it down. Also, fell head-over-heels with three bass singers: René Pape, Štefan Kocán, and John Relyea! (Already loved bass Ildar, of course!)

~~~

Oscar Wilde said that “the only way to get rid of temptation is to yield to it”. Well, apparently I’ve been following this advice with the opera addiction. The subtitle to this post might be: “Or, How I Learned To Stop Worrying and Give into My Met-On-Demand Addiction”. (It might also be subtitled: “The Month of the Bass and Baritone”.)

What enabled me to watch an unusual amount of recorded opera this month is that I happened to be, at several points, involved in an aspect of my sewing work which is too rare: that which allows for multitasking! (Mostly the hand-sewing part, which alone took a good 18 hours lately. YES!) So…here goes! Not necessarily in the order in which I watched them.

don-giovanni-collageDon Giovanni (Met, 2011)

Thanks to my friend and enabler, Viv, and partly inspired by seeing the recent HD cinema showing of the current Don Giovanni with Simon Keenlyside–which I had mixed feelings about overall, but enjoyed, particularly Simon himself–I finally watched the 2011 Don Giovanni (same set/production) with Mariusz Kwiecien, Luca Pisaroni, Štefan Kocán, Marina Rebeka, Barbara Frittoli, and Ramón Vargas.

Oh my. I have fallen in love with this opera all over again, and simply cannot get it out of my head. Mariusz is a most charming, seductive Don, and what shall we say of Luca? I see why he is a legend in this role of Leporello ~ vocally, it just doesn’t get better, but added to that is an impeccable comic timing and complete naturalness in the role. I particularly loved the way Mariusz and Luca play off one another ~ I have never seen a production which captures so well the relationship between Giovanni and Leporello, love-hate though it is, as Luca has expressed his interpretation in a recent interview…however much they may betray one another, is not unlike a dysfunctional married couple, each knowing the other so well. There are even moments of tenderness. When the Don makes his final act of defiance to agree to come to dinner with the Commendatore, there is a moment of farewell between them, which I have not quite seen anything like. (And indeed, Luca’s Leporello looks somewhat lost without his villainous master in the final minutes…)

This production captured the comedy of this incredible opera, and both the direction and the conducting–Fabio Luisi–kept a sprightly pace. In fact, the whole production felt sprightly and energetic! The Anna–dang, she’s great!–Elvira, Masetto, and Zerlina were also wonderful. I went from moments of irrepressible laughter–such as when Leporello imitates the Don in seducing Donna Elvira–to tears, as in Mariusz’s “deh vieni alla finestra”…yes, that charming Don manages to seduce his audience every bit as much as he did the 1800+ ladies.

Then, there was the new-to-me discovery of the glorious bass Štefan Kocán, the Commendatore! Wow! (Thank you, Gabriela, you were so right!!) It was some time before I could move on to the rest of the opera after the Commendatore’s death in the opening, so beautiful was his final minute of singing with Giovanni and Leporello that I had to rewatch it again and again. (By this point I must have watched that moment probably two dozen times altogether.) And of course, at the end, he returns in a most gloriously haunting finale…

All this, in a production that was done only 2 weeks after Mariusz had back surgery! Amazing. Needless to say, I highly recommend it. If you haven’t already fallen in love with this opera, this production will probably do the trick. 🙂

il-trovatore-2015-collageIl Trovatore (Met, 2015)

Be prepared for tears on this one. Not so much due to the operatic tragedy of the story, as the reception by the Met audience and orchestra of beloved Dmitri Hvorostovsky, who returned to his role of the Count di Luna after the announcement of his brain tumor and the months of chemotherapy that followed. (Just wait until the final bows and curtain calls…have tissues handy!)

This was only the second time I’ve seen a recorded production of this opera. I marvel at the vocal gymnastics that are required of our leads, and Anna Netrebko had me breathless as Leonora, particularly in her Act IV arias…dang! Dmitri, of course, shone as the Count di Luna, with such a powerful stage presence alongside the extraordinary bass Štefan Kocán as Ferrando…amazing! Dolora Zajick was a wonderful Azucena, and I very much liked Younghoon Lee as Manrico ~ very dynamic.

Loved the Goyaesque set and the period costume. Overall, a beautiful production.

Now looking forward to seeing the earlier Trovatore, from 2011…!

magic-flute-branagh-rene-collage**Movie Break!** (Not from the Met:) Kenneth Branagh’s The Magic Flute, 2006

So…now for The Magic René–oops, I mean, The Magic Flute.

Okay, I actually watched this one before most of the others, and it’s not Met, but I thought it worth a mention, as I’ve become so hopelessly enamoured of René Pape. I’ve been remotely following him for months, but was utterly smitten after his performances in both Parsifal (Met, 2013) and his King Marke in the Met Live in HD Tristan und Isolde in early October.

I have never seen a production of Mozart’s Die Zauberflöte…nor Der ZauberRené for that matter ~ so, please take this with a grain of salt, but I thoroughly enjoyed Branagh’s quirky, random humor transposed into a fantastical World War I setting with an anti-war focus. Not to mention the Gilbert-and-Sullivanesque English libretto by Stephen Fry. Joseph Kaiser (Tamino), Amy Carson (Pamina), and glorious, mesmerizing magician-bass René Pape (Sarastro) led the cast. (Yes, as much as I adore Branagh, I daresay you know who was the magician that drew me to THIS movie…) The CGI effects are pretty cheesy in spots, but it’s somehow in keeping with the magical, goofy oddity of the whole.

nozze-collageLe Nozze di Figaro, Met, 2014

Another lighthearted moment was the Met’s Le Nozze di Figaro from the 2014-15 season (available on Met on Demand), with Ildar Abdrazakov, one of my favorite bass voices! Again, as familiar as much of the music is to me, I’d never seen a production and didn’t know how delightful and hilarious it is! I loved it. Ildar, as the witty servant Figaro, couldn’t be more adorable if he tried, and Peter Mattei (wow, another beautiful voice, and a new favorite!) as the womanizing Count Almaviva was just fantastic. The whole cast was delightful, and had me laughing up in the workshop…

Il Trovatore, Met, 2011

After the wonderful 2015 Il Trovatore that I watched the previous week, I watched the same wonderful David McVicar production–with some of the same cast, notably Dmitri Hvorostovsky, Štefan Kocán, and Dolora Zajick–in their earlier 2011 production, and was intrigued and delighted with the similarities and differences. It’s really hard to choose overall.

In both, Dima shines as the Count di Luna, Štefan Kocán is an irresistably ruthless bass Ferrando, and Dolora Zajick strikes me as a master of the gypsy Azucena. But here we have a different Leonora and Manrico, sung in 2011 by Sondra Radvanovsky and Marcelo Alvarez. While I thoroughly appreciated the Netrebko/Lee combination of 2015, and vocally it is really hard to choose–and I am naturally a little more drawn to Netrebko’s vocal quality–yet I must say Sondra really won me over in this role, and particularly the chemistry between her and Marcelo, who was also a very endearing and strong Manrico. The character interpretation of Leonora was less melancholy than Netrebko’s, and one really gets behind Sondra, whose expressive face and adoring love for Manrico are so evident. I thoroughly enjoyed both, but I must give the edge to the Radvanovsky/Alvarez combination for our two leads. (That being said, if one has time for only one of the two productions, I might choose the 2015 if for nothing else than the beautiful reception for Dima, and the endearing and heart-wrenching applause and roses for him at the end…)

eugene-onegin-2007-collageEugene Onegin, Met, 2007 and 2013

A real highlight of this past opera week for me was the new-to-me discovery of Tchaikovsky’s opera Eugene Onegin, another which I did a double header on, seeing both the 2007 production with Dmitri Hvorostovsky, Renée Fleming, and Ramón Vargas, as well as the more recent production with Mariusz Kwiecien, Anna Netrebko, and Piotr Beczala. I had not known this story previously ~ about inaccessible love, haughty rejection, and the pride that destroys friendships and romantic love ~ based on the verse-novel by Alexander Pushkin. Okay, so I do have a tendency to love anything 19th century anyway, but I was captivated by these characters, and utterly loved it. It is *quintessentially* 19th century in its themes, with an ending I wouldn’t have expected in an opera. I won’t say more, but I’d like to write a more fleshed-out post on this opera alone at some point, rather than just pointing out a few highlights of these productions.

Both Anna and Renée are absolutely luminous in the role of the shy but stronger-than-she-appears Tatiana, and I really cannot choose between the two whose interpretation I prefer. (But I was more invested in Renée’s struggles, perhaps because it was my first Eugene, and I loved the whole production so much altogether.) Piotr and Ramón were both wonderful as the honorable, lovable, but almost irrationally-jealous Lenski…it was my first time seeing Piotr in anything and I was so impressed! For Eugene, I would be hard pressed to give a preference as to their vocal beauty in the role; but in terms of interpretation and sheer force of presence, undoubtedly, Dmitri has the commanding, striking haughtiness that instantly catches one off guard, as this character does Tatiana. He is positively statuesque. I mean, this Eugene really out-Darcys Mr. Darcy, and is more aimless and cynical than a Eugene Wrayburn. Unquestionably, I would choose Dima for the role, if I were forced to choose. (But I would very highly recommend both.)

Visually, both productions are luscious, and the costumes stunning. The 2013 is quite glorious to look at. My own preference, though, is decidedly in favor of the earlier 2007 production with Dima and Renée: it is utterly magical in its stark simplicity. A very minimalist set with a slightly “boxed-in” look (thematically in keeping with the bounded-in-a-nutshell situation of the characters…), but with the most stunning colors–I’d like to create a photo collage of the different scenes–and falling leaves, as though reflective of the beauty of romantic love even in it’s autumn…when it is rejected and inaccessible.

Both are so beautifully and feelingly conducted by Valery Gergiev, and there is a wonderful behind-the-scenes mini-documentary on this after the 2007 stream.

I will be rewatching both versions again and again no doubt, but particularly the 2007 version, which will probably go down as one of my favorite opera productions.💙💔

Of course, Eugene Onegin will be live in the cinemas from the Met in April of 2017, again with Dmitri, in combination with Anna Netrebko and Štefan Kocán…I absolutely cannot wait!

Afterward

Now that I’ve practically written a novel of notes, I thought I’d also mention that these are only a few of the opera beauties I’ve heard and seen this month, which includes a live-stream with Mariusz of Donizetti’s La Favorite, and the Met Live in HD Tristan und Isolde with Nina Stemme and René.

A few radio highlights include a really marvelous radio transmission of a Don Carlo with René (Philip II), Mariusz (Rodrigo), and Michael Fabiano (Carlo) from the San Francisco Opera of June 2016; also, another Don Carlo audio with René and Dima from the Met-on-Demand (audio only)…both stunningly beautiful. Also, it’s been great fun to experience, via radio, this year’s Met production of Guillaume Tell, with Gerald Finley (Tell), Marina Rebeka (Mathilde) and another magician-bass, John Relyea (the evil Gessler! A new bass love!!). Then, this past week, another live radio broadcast of the Met’s Don Giovanni, this time with Ildar Abdrakazov in the lead! A most marvelous Don…perfect! And this has not remotely covered it all.

It’s a huge joy to be part of the Sirius Opera Fans group and Met Opera Live in HD Fans group (both on Facebook), which have been such inspiring places to discuss opera love, to learn, and to share insight. (And to find more opera-enablers!! 😉 )