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Elisabetta comforts Don Carlo at his death Photo: Sara Krulwich/The New York Times |
That's just the beginning of Mr. Verdi's revered Don Carlo, considered by many to be his finest opera. (I sort of think choosing Verdi's finest opera is like trying to choose the best flavor of Ben & Jerry's ice cream--not really possible, and in the end, who the heck cares? They're all amazing!) There is further political and romantic intrigue, pageantry, and some of the best music you will ever hear. Of that I am sure.
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Simon Keenlyside and the amazing Feruccio Furlanetto Photo: Ken Howard/The Metropolitan Opera |
I've reviewed a 2015 revival of this 2010 production before (hyperlink). But I never tire of Verdi, and I need something to write about, so there you are. On the Metropolitan Opera's excellent On Demand streaming service is a performance from the original 2010 production. The primary differences between this performance and the one I reviewed are Roberto Alagna, the original Don Carlo; Marina Poplavskaya, the original Elisabetta; and Anna Smirnova, the original Eboli. So, in effect, it is the same production I saw but with a substantially different cast.
I have no complaints about this cast. Although I'm not always sure of the roles Mr. Alagna essays, he is fully equal to Don Carlo. He is passionate, sounds glorious, and is believable with all of Don Carlo's tumultuous emotions. Ms. Poplavskaya is a lovely and conflicted Elisabetta. And we are quite in favor of Ms. Smirnova as Eboli, who must appear faithful, vengeful, and full of regret at different points in the opera. (Just as Mr. Verdi's Aida was originally to have been named for Amneris, we think some of his other dramatic mezzo roles deserve much more attention than they get!)
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Photo: Ken Howard/The Metropolitan Opera |
Those who have access to Metropolitan Opera On Demand, I say watch this video! Those who don't, I say seek out any live or video performance of Don Carlo you can find! You won't be sorry.
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