The Wiener Staatsoper’s previous production of the four act version of Verdi’s Don Carlo by Pier Luigi Pizzi was visually arresting, dramatically compelling and true to the libretto. Its replacement by Daniele Abbado is the exact opposite. This is a bargain-basement boxed-set affair which fails to satisfy the expectations of Europe’s most prestigious opera house. Perhaps the shortcomings were attributable to Graziano Gregori’s aberrant stage concept although directional deviations were also abundant.
In restricting the performing area to a series of claustrophobic boxes with a steeply raked stage there was almost no space for the large chorus, multitudinous monks or malcontent Madrileños. Economies at El Escorial have been stringent. The royal box at the auto-da-fé looked like temporary bleachers from a county cricket club. Elisabetta’s enchanting gardens were closer to a kaleidoscopic disco and Carlo’s prison a homeless shelter below a highway overpass in El Gallinero. Carla Teti’s costumes were closer to Oxfam than Balenciaga. Elisabetta wears some kind of second-hand sans-culottes white smock. Most of the locals looked liked miserable prisoners escaped from Fidelio.
Directional incongruities abounded. The rebellious crowd in Act IV announce the Grand Inquisitor after he has already been in their midst for several minutes. There is no tomb of Charles V for Elisabetta to pray to in “Tu che le vanità”. Instead she delivers the aria standing motionless in the middle of a bare stage.
Musically things were more satisfactory. Whilst being clearly attentive to the singers, Maestro Marco Armiliato wasn’t going to hold back the orchestral sound for even a quaver rest. There were some huge blasts from the pit, and not just the brass, although horns and trombones certainly made their presence felt. The orchestral tutti in the auto-da-fé was chilling in its ferocity. The trilling solo flute at Posa’s “Io morrò” was correctly delicate and the solo cello introduction to “Ella giammai m’amò” beautifully phrased. The chorus was consistently excellent.
The Voce del cielo of Andrea Carroll was impressively lyrical and suitably celestial although exactly where she was singing from was hard to determine.
Alexandru Moisiuc as the egregious Grand Inquisitor looked more like an emaciated hirsute Sufi mystic but was dramatically competent. As Rodrigo, Ludovic Tézier displayed a remarkable top register, powerful without losing focus and lyrical without losing robustness. His middle voice is also impressive and only lacks projection at the extreme low register. “Per me giunto è il dì supremo” was splendidly heroic and the sustained top G flat preceding “salva la Fiandra” riveting. The only negative was a disappointing stage presence, with an annoying habit of constantly gesturing with his right arm.