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Auto da fe scene - Verdi: Don Carlos - Opera de Lyon, Michele Pertusi, Sally Matthews, Stephane Degout (Photo Jean Louis Fernandez) |
Reviewed by Robert Hugill on Mar 24 2018 Star rating: (★★★★)
Verdi's original French grand opera version, in a brilliantly theatrical production
It is heartening that French opera companies are re-discovering not just the French version of Verdi's Don Carlos but the original Parisian version of 1866/67 before Verdi's revisions of the 1880s. The Paris Opera gave a new production of the 1866/67 Don Carlos, and now Lyon Opera has created its own new production directed by Christopher Honore and conducted by Daniele Rustioni. We caught the fourth performance, on 24 March 2018, with Michele Pertusi as Philippe II, Sergey Romanovsky as Don Carlos, Stephane Degout as Rodrigue, Roberto Scandiuzzi as le Grand Inquisiteur, Patrick Bolleire as un moine, Sally Matthews as Elisabeth, Eve-Maud Hubeaux as la Princesse Eboli and Jeanne Mendoche as Thibault. Designs were by Alban Ho Van, costumes by Pascaline Chavanne, lighting by Dominique Bruguiere, choreography by Ashley Wright.
This was billed as the 1867 version (though there had been press reports, thankfully untrue, that the 1884 Modena version in French was to be used). The 1867 version is that actually premiered, but Verdi had had to make significant cuts just before the premiere to ensure the opera finished by midnight. In the event, we seem to have got most of the cuts opened up, we started with the introduction and opening chorus, the duet for Philippe and Rodrigue in Act II was extended, as was Elisabeth and Eboli's duet in Act IV, and most importantly the section of the final scene of Act IV (which Verdi re-used as the 'Lacrimosa' in the Requiem was present). Almost as important (Verdi regarded it as so), the ballet was performed (the first time I have heard the music live in context).
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Act 1 - Verdi: Don Carlos - Opera de Lyon, Sally Matthews, Sergey Romanovsky, Jeanne Mendoce (Photo Jean Louis Fernandez) |
Christophe Honore's production was deliberately theatrical and non-historical.