Verdi’s opera of forbidden love set against a backdrop of historic political intrigue makes for great theater. Furthermore, it highlights Verdi’s unparalleled ability to musically communicate the struggles between people. In some ways, the Met's HD series gives viewers better than front row seat for world class opera and, although this production’s anachronisms and minimalist sets can occasionally be dispiriting, overall it is an artistic triumph. Nicholas Hytner does such a fine job of drawing the audience into the struggles and passions of the characters, that it is almost as if they were designed for the cameras in the first place.
Crucial to the plot is the inclusion of the Fontainebleau scene. In it, Mr. Hytner focuses on the initial meeting of the fated lovers and on their youthful infatuation. Led with a lilting hand by maestro Yannick Nézet-Séguin, this scene is a welcome dramatic catalyst for the rest of the opera. The larger-than-life “auto-da-fé” scene is claustrophobic, perhaps on purpose. Mr. Hytner’s focus on religious zeal is penetrating and the grandness of this opera is downplayed so as not to distract from the very real world these characters inhabit. Carlo’s world is a terrifying one – one in which he is increasingly walled off from everyone else. His solitude in his suffering is a primary focus, but this is extended to all the characters in their scenes. The production excels in maintaining this personal focus, thanks to an extremely capable, often superb, cast.
Bass Ferruccio Furlanetto has made a significant career with the role of Philip in a prominent place in his repertoire. As the conflicted monarch, he offers a powerful performance, singing with a gravitas to match his persona. But there is a depth to his portrayal that makes for a sympathetic character. While threatening in his confrontation with Rodrigo, he is conversely devastating in his Act IV monologue. It is a masterful performance.