'Don Carlo'

After the creative maelstrom of William Kentridge’s production of ‘L’Orfeo’ at Glyndebourne (see my recent Blog), the penny plain version of ‘Don Carlo’ at Grange Park Opera, directed by Jo Davies, provided stark, even jarring contrast. This is not to say I did not find it enjoyable, in fact I was profoundly moved and exhilarated by turns, but the main virtues which impressed me were musical ones.

Some dramatic aspects worked well: for example, the ‘auto da fe’ scene was surprisingly effective, given the relatively small chorus, but generally the singers were directed unimaginatively and vital emotional dynamics were missing. There was little visual indication that these characters cared about each other, despite plenty of vocal declaration to the contrary. A good deal of the stage craft was simply clumsy, reaching a nadir in the final scene when, presumably with a nod to Schiller’s original, Don Carlo, rather than being saved from death by his grandfather Charles V, had his throat cut by the Grand Inquisitor. As ideas go, this was a poor one.

Musically, proceedings were on an entirely superior level. The English National Opera orchestra, having nothing to do for their home company over the summer, moonlighted to excellent effect. George Jackson conducted a well-paced, assured version of Verdi’s finest score (discuss…). The Don Carlo, Georgian tenor Otor Jorjikia has had a rough time of it from some of my fellow critics and it is true his singing lacks light and shade, but his trumpet toned, tireless declamation was exciting, and his straightforward, sincere commitment commanded respect. As Elisabeth de Valois Welsh soprano Elin Pritchard had the most purely beautiful voice of the evening, with ravishingly floated top notes and pin you to your seat fortissimos as required. Michel de Souza was a dark grained but still lyrical Rodorigo and Ruxandra Donose a slightly wild but compelling Eboli.

Towering above all these, in every sense, was Matthew Rose as King Phillip II. He gave a superb performance, his rich, stentorian bass even and secure across a two-octave range. His singing of ‘Ella giammai m’amo’ was heart-breaking (his dignified acting offering the authenticity lacking elsewhere) and his confrontation with Julian Close’s Grand Inquisitor electrifying. Close certainly has the black tone needed for the role (although his low E was a shade underwhelming) but his doddery, bent double physical characterization rather put me in mind of Julie Walters’ geriatric waitress in Victoria Wood’s ‘Two soups’ sketch. Harrison Chene Gration has a promising bass voice but his Monk looked and sounded too young. Rosa Sparks was suitably ethereal as the Voice from Heaven, James Schouten was luxury casting as the Count of Lerma, Sam Uttley was a confident Royal Herald and Claire Pendleton a silvery toned, perky Tebaldo. A strong ensemble effort then, ably abetted by the excellent chorus, who seemed unfazed by the resignation of their chorus master at the start of the season.

This was a profoundly satisfying if rather old-fashioned evening at the opera, well worth catching if you have the opportunity.