By Giuseppe
Verdi
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| Don Carlos - Opera Australia Photo: Jamie Williams |
Director:
Elijah Moshinsky
Designer:
Paul Brown
Lighting
Designer: Nigel Levings
Opera
Australia
Joan
Sutherland Theatre – Sydney Opera House until August 15.
Performance
17th July, reviewed by Bill Stephens
Though it
deals with weighty matters, politics and the human condition, “Don Carlos” is far
from a heavy night at the opera. Crammed
with lush melodies and absorbing characters, “Don Carlos” is rarely performed in this country, largely
because of the huge resources needed to do it justice, both aural and physical.
However this finely detailed reworking by Opera Australia of Elijah Moshinsky’s
1999 production, with its spectacular Velazquez inspired sets and costumes, does
the opera proud and offers a rare opportunity to catch up with this masterpiece.
The mood is
set early as the curtain rises to reveal the interior of a lavish green marble
mausoleum housing the tomb of Charles V. A giant shadow precedes the vision of a ghostly Charles V (David
Parkin) as he enters, dressed as a monk, to observe the Crown Prince of Spain, Don Carlos (Diego Torre), seeking consolation
for his sorrow at the news that his
father, Phillip 11 (Ferrucio Furlanetto), has claimed his fiancée, Elisabeth de
Valois (Latonia Moore), for his own wife.
Don Carlos
is joined by his friend and advisor, Rodrigo (Jose Carbo in yet another outstanding
performance) and together they pledge an oath to liberty in the first of
several stirring male duets which occur throughout the opera. These duets reflect
Verdi’s interest in expressing powerful emotions through the use of the singing
voice, and this one provides the catalyst for the events which follow.
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| Daniel Sumegi (The Grand Inquisitor) Ferruccio Furlanetto (Phillip 11) Photo: Jamie Williams |
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| Milijana Nikolic (Princess Eboli) Latonia Moore (Elisabeth) Photo: Jamie Williams |
While the
two women’s roles are less prominent , both Latonia Moore, as Elisabeth, the pawn between Don Carlos and his father,
Phillip 11, and Milijana Nikolic, quite outstanding as the beautiful Princess Eboli, who harbours a passion for Don Carlos and who
unwittingly causes his downfall, give
memorable performances. It was also fascinating to see these two singers cast
opposite each other again in roles not too dissimilar as those they portrayed so
successfully in the Handa Opera on the Harbour production of “Aida”.
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| Latonia Moore (Elisabeth) Ferruccio Furlanetto (Phillip 11) Photo: Jamie Williams |
Paul Brown’s
imposing marble settings and lavish Spanish court costumes ensure that the
production looks suitably spectacular, reaching its zenith when the doors of
the church are flung open during the spectacular and chilling “auto da fe” scene, depicting the burning
of the condemned heretics.
This
production is rich with memorable moments, both vocal and visual, and once again
the Australian Opera and Ballet Orchestra, in top form under Andrea Licata, gives
a superb account of Verdi’s sumptuous score.
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| Milijana Nikolic (Princess Eboli) Diego Torre (Don Carlos) Photo: Jamie Williams |
By the way, if
you’ve not yet discovered the Northern Foyer pop-up bar, make sure you seek it
out next time you go to the opera house. It’s
very chic and glamorous, offers reasonable priced snacks, stunning harbour views, and a great addition to the opera-going experience.
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| Northern Foyer Pop-up Bar Photo: Bill Stephens |
This review also appears in Australian Arts Review.
