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Verdi, Don  Carlos: Soloists, orchestra and chorus of Sarasota Opera, Victor DeRenzi  (Conductor): Sarasota, Florida, 7.3.2009 (LS)

Production:
Director: Victor DeRenzi
Stage Director : Stephanie Sundine
Scenic Designer: David P. Gordon
Costume Coordinator: Howard Tsvi Kaplan
Lighting Designer: Ken Yunker
Wigs and Make Up Designer: Georgianna Eberhard
Surtitle Supplier:Words for Music
Surtitle Translator:Victor DeRenzi

Cast:
Philippe II,  King of Spain:Kevin Short
Don Carlos, Infante of Spain:Gustavo López Manzitti
Rodrigue, Marquis de Posa:Marco Nisticò
The Grand Inquisitor:Jeffrey Tucker
A Monk:Benjamin Gelfand*
Elisabeth De Valois:Reyna Carguill
The Princess Eboli:Stella Zambalis
Thibault:Maria D'Amato*
A Celestial Voice:Jo Ellen Miller*
The Count of Lerme: Brandon McReynolds*
A Royal Herald:Matthew Giebel*
Flemish Deputies: Evan Brummel*, Matthew Hanscomb*, Bernard Holcomb*, Erik Kroncke,*Michael Scarcelle*, Michael Ventura*

Act I Scene 2

Don Carlos is felt by many to be Verdi's greatest opera. It's big, bold, and for the most part riveting. Even in its revised four act version the performance with two intermissions takes four hours. And the original five act version with ballet lasted even longer.

Its characters include a prince in love with his mother, a queen torn between the love for her son and duty to her country, a nasty yet moody and at times pitiful king, two betrayers who ultimately reverse course, a blind Grand Inquisitor, a monk who may be a ghost, and a celestial voice. All of this plus powerful confrontations, glorious duets, arias and ensembles, massive choruses, beautiful sets, and an authentic auto da fé,

When it was first performed in 1867 for the Paris Opera , the five acts and ballet proved to be much too long. During the next 15 years it was edited by different opera companies, until Verdi decided to completely revise and shorten it. On January 10, 1884, a new four act version in Italian translation from the French was performed at La Scala. All of Verdi's revisions were to a French text, but most subsequent performances have used the Italian translation. On March 7, 2009 Sarasota Opera became the first North American opera company to stage Don Carlos in its uncut 1884 four act French language version.

Act I opens with beautiful horns setting the stage for the grand drama. The monks in the monastery of San Yuste pray for the late Emperor Charles V and ask God for mercy. Carlos enters and sings his only aria in which he recalls his love for Elisabeth and her arranged marriage to Philippe . Rodrigue enters and Carlos confesses that he still loves Elisabeth. Rodrigue is stunned --"your mother!!"-- and advises Carlos to turn his attention to the suffering people of Flanders. The scene closes with the famous Carlos -Rodrigue duet "Dieu, tu semas dans nos ames" with each swearing loyalty to the other.

Scene 2 introduces us to the scheming Eboli singing The Veil Song. This is followed by a confrontation between Elisabeth and Carlos arranged by Rodrigue. He asks her to petition Philippe to let Carlos go to Flanders. He next reminds her of his love and she breaks off the interview. Philippe enters and is furious when he finds Elisabeth without her attendant. He banishes Elisabeth's attendant which triggers the beautiful romanza O ma chère compagne in which Elisabeth pours out her compassion and sorrow. Philippe then turns to Rodrigue for a private discussion. Rodrigue asks that Flanders be freed. Philippe listens and doesn't commit himself, but warns Rodrigue to beware the Grand Inquisitor. He also tells Rodrigue that Carlos is stealing Elisabeth's love.

Act II Scene 1

Act II begins in the Queen's Garden. Carlos speaks passionately with whom he thinks is Elisabeth, but is in reality Eboli. When he learns the truth, his behavior convinces Eboli that Carlos loves the Queen. She swears revenge and departs. Rodrigue appears and asks for Carlos' private papers.

The second scene of Act II contains the famous auto da fé and the confrontation between Carlos and the king. When the petitioners for Flanders have been rebuffed, Carlos draws his sword vowing to save the Flemish people. The king thunders for Carlos to be disarmed but only Rodrigue steps forward to do so. Not surprisingly Carlos is stunned by the betrayal. As the heretics are burned a voice from heaven provides consolation.

Act III contains the first of four blockbuster arias allotted to each of the principals but Carlos. Philippe's Elle ne m'aime pas is one of the greatest arias in the bass repertory. A cello solo sets the stage for what begins as the tragic recognition that Elisabeth never loved him and ends with a hope that death will enable him to finally sleep. The Grand Inquisitor arrives and Philippe asks whether he should condemn his own son Carlos. The answer is clear. The peace of the world is worth the blood of a rebel son. But the Inquisitor goes on to say that Rodrigue also should be handed to the Inquisition. The king says "never!" but the Grand Inquisitor hints that the king might be in danger if he doesn't obey. The confrontation between the two basses is one of the highlights of the opera.

The action shifts to a scene between Elisabeth and Philippe. She says her jewelry box has been stolen, but he shows her the box containing Carlos' picture. He accuses her of adultery, she faints, and Eboli is called in to assist Elisabeth. Eboli confesses to Elisabeth that she stole the box, placed the picture, and for good measure had been the King's mistress. Elisabeth is furious and banishes Eboli, who, in turn sings the famous O don fatal where she curses her beauty, but resolves to save Carlos.

Act III Scene 1

The second scene of Act III takes place in prison. Carlos awaits his fate. Rodrigue approaches and tells Carlos that he has saved him by letting the authorities discover the incriminating papers given to him in Act II. Rodrigue is now viewed as the traitor working on behalf of Flanders and is shot by a member of the Inquisition. As he confesses to Carlos and dies Rodrigue has not one but two arias-- C'est mon jour suprême and his death scene. The citizens storm the prison, Eboli helps Carlos escape, and the Grand Inquisitor brings down the curtain by restoring order.

Act IV quickly brings the opera to an end. We are back at the Cloister of San Yuste. Elisabeth sings her famous aria Toi qui su le néant in which she says her work is over and hopes Carlos will go to Flanders and forget her. She prays to Charles V that he should carry her tears to God. Her heart seeks only the peace of the grave. Carlos arrives and agrees that he should leave Elisabeth and free Flanders. They bid each other farewell.
Philippe and the Inquisitor suddenly enter to execute Carlos, but before they can act a figure emerges from the tomb and leads Carlos in. Who is this figure? It is either A) the ghost of Charles V taking Carlos to the grave or B) the living retired Charles V taking Carlos into sanctuary at the monastery. The Sarasota opera program chose alternative B, whereas I've always preferred alternative A .

Gustavo Lopéz Manzitti was a superb Don Carlos. His confrontation scenes with Rodrigue, Elisabeth, King Philippe, and Eboli were wonderful. His voice and acting were equally strong, although perhaps he might have been a bit less overpowering in Act I. He hails from Argentina where he has performed principal roles in Rigoletto, Simon Boccanegra, and La clemenza di Tito at the Teatro Colon de Buenos Aires.

Marco Nisticò was an excellent Rodrigue exhibiting a beautiful baritone voice coupled with fine acting. He held his own with Lopéz Manzitti in the famous loyalty duet and was very effective in his Act III death scene.
Nisticò appeared last year in Sarasota singing Figaro in the Barber of Seville and Francesco Foscari in I due Foscari. His credits also include appearances at Caramoor, the Teatro Communale di Bologna, and New York City Opera.

Bass-Baritone Kevin Short was small in stature but large in voice. His poignant Elle ne m'aime pas was another of the evening's highlights as was his confrontation scene with the formidable bass Grand Inquisitor. Short is a favorite at Sarasota Opera having sung principal roles in 1991, 2000, 2001, and 2003. He has also appeared at the Metropolitan Opera, Houston Grand Opera, and Stuttgart Opera.

I've always imagined the blind Grand Inquisitor as emaciated and frail whereas bass Jeffrey Tucker was perhaps a bit too healthy. His voice however was right on the mark and he handled the difficult low notes with ease. He is also well known at Sarasota having taken on principal roles in 2003, 2006, 2007 and 2008.

Soprano Reyna Carguill replaced the scheduled Julianna Di Giacomo a the last minute. She has a beautiful voice but was less comfortable as an actress especially in the early parts of the production. She also had a bit of a problem handing Toi qui su le néant in Act IV. Nevertheless she certainly contributed to a wonderful night of singing.

The role of Eboli is usually given to a mezzo soprano, but Sarasota opera chose soprano Stella Zambalis. I recently acquired a 1990 Omaha Opera performance of Donizetti's Maria Padilla and there was Zambalis as Ines-- with Rene Fleming singing Maria. Zambalis had a fine voice then and it is excellent today, perhaps even more so as it has matured. The aria O dan fatal is a show stopper and Zambalis sang it with beauty and the appropriate emotion. Zambalis' credits are extensive and include engagements at the Metropolitan Opera,
Houston Grand Opera, Deutsche Opera Berlin and Seattle Opera.

Each of the Studio Artists performed well, and special mention should go to Monk/Ghost Benjamin Gelfand

The production itself was for the most part excellent and fast paced, The four hours passed swiftly--in complete contrast to other Don Carlo's such as those directed by Herbert Von Karajan. The sets --particularly in the jail and monastery scenes-- were excellent as were the costumes.

I was a bit disappointed by Act II Scene 2. I recognize that sets can be costly, but the cathedral and its opening doors seemed a bit too "cardboarderish" if there is such a word. I was also disappointed by the auto da fé. There was simply no terror, and the small stage was much too crowded for any special effects. Finally, the celestial voice ending the Act didn't quite come off, perhaps because of sound projection and acoustical issues.

As usual Victor DeRenzi and his orchestra were masterful. The cello, horns, and brass contributions were particularly effective. The choruses were fine, although the monks might have been a bit more spooky.

All in all DeRenzis' Don Carlos was a triumph. He is well on the way to completing a full Verdi cycle. Don Carlos was number 25. I hope to see the 26th --Giovanna D'Arco scheduled for 2010

Lew Schneider

Pictures © Richard Termine

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