Notes and Editorial Reviews
Another worthy addition to Chandos’s Opera in English series.
Richard Farnes, cond; Alastair Miles (
); Julian Gavin (
); William Dazeley (
); John Tomlinson (
Janice Watson (
); Jane Dutton (
); O & Ch of Opera North
CHANDOS 3162 (3 CDs: 167:29
Text and Translation)
This is the latest addition to Chandos’s “Opera in English” series. As (apparently) the first-ever complete recording of
in English, its justification is self-evident. The translation is an excellent one by that doyen of the craft, Andrew Porter (probably best known for his classic
translation for Reginald Goodall’s historic performances at the English National Opera, also preserved on Chandos). The recording was made under studio conditions, in conjunction with Opera North’s 2009 production. The version used is the shorter four-act one; though the omission of the original act I is regrettable on both dramatic and musical grounds, it is understandable that the recording would follow the stage production.
The lack of any English-language competition renders comparisons moot. Of course, reactions to hearing the opera sung in English will differ; if for some (myself included, I confess) the English language rarely sounds quite right in Verdi, we should remember that
is in fact something of a special case, in that it is the only major Verdi opera that is rarely performed in the language of his original conception. (For the original French version, Abbado/DG and Pappano/EMI have the field to themselves.) It is a tribute to Porter’s translation how little it gets in the way—indeed, I found myself often forgetting about it in the heat of the drama. As usual, the translation pays greatest dividends in the comprehensibility of solo music and duets, less so in the work’s larger ensembles, where the textural complexity naturally lessens comprehensibility in any language.
As for the performance, it turns out to be an exceptionally good one that could (if it had to) easily hold its own with more illustrious major-label versions. It has certainly benefited from close association with the stage production, in terms of a powerful atmosphere, real dramatic tension, tightness of vocal and orchestral ensemble, and general satisfying feel of a “lived-in” production.
The cast is a strong one: Janice Watson’s performance as Elisabeth is supple, wide-ranging, and dramatically responsive, rising to the heights of the monologue and duet in act IV, including a fabulously floated
high B at “il sospirato ben che fugge” (I use the Italian as the most practical term of reference for readers familiar with the opera). Jane Dutton (Eboli) sings with commitment, though her large voice can be unwieldy at times—as in the act I “Veil Song” cadenza, where the prescribed
goes for very little. Julian Gavin (Carlos) by contrast lacks some of the necessary vocal weight for this role, and displays an intermittent tendency to sing slightly under the note, but his performance is an intelligent one, flexible and well characterized. William Dazeley’s Rodrigo is technically superb, his rich-toned portrayal a constant source of pleasure. Alastair Miles conveys Philip II’s anguish, both repressed and open, through superb enunciation of the text and scrupulously observed dynamic range. John Tomlinson gives a memorably sinister portrayal of the Grand Inquisitor, menace personified. Ensemble work is a consistent high point in its tight-knit vocal interplay, the act II (“dialogue” and garden) trios and act III quartet registering superbly.
The conductor, Richard Farnes, is a truly exciting discovery, directing his forces to the manner born—taut, idiomatic, and equally responsive to the grand public spectacle of the act II finale and the nocturnal mystery of the same act’s prelude. Choral work is excellent, and the orchestra superbly responsive to everything he asks for. He has nothing to fear from the recorded competition (including the likes of Karajan, Solti, Abbado, and Muti). I certainly look forward to hearing more from him.
The recording is excellent, the spacious acoustic of Leeds Town Hall well captured in a lifelike concert hall balance. The big orchestral moments pack a tremendous punch (e.g., the grinding
outburst at Rodrigo’s “la pace è dei sepolcri!” in act I, or the C-major
deus ex machina
of Charles V’s appearance in the act IV finale). In the Parisian Grand Opera finale to act II, textural detail is beautifully integrated to the rich, deep soundstage.
Obviously the recording will be self-recommending as the only option for those wanting the opera in English. But its strengths go well beyond that, as a distinguished addition to the work’s extensive discography regardless of language.
FANFARE: Boyd Pomeroy
The original five-act form of
Don Carlos was premiered at the Paris Opéra on 11 March 1867 to go alongside the Great Exhibition held that year. It was by far the longest of Verdi’s operas even after much material had been jettisoned to ensure that the Parisian audience could get their trains home after the performance. Whether that concern influenced its modest reception can only be guessed at. The premiere of the Italian translation, as
Don Carlo, fared little better. Both the Italian public and theatre managements found the opera over-long and were slow to take it to their hearts. It was not long before the act three ballet and then the first act, the
Fontainebleau act, were dropped altogether. The arrival in Italy of the shorter, more cogent and equally grand
Aida in 1871 added to the view. After a failure in Naples in the same year Verdi made his first alterations to the score for a revival under his own supervision. Still its fortunes disappointed and with others shortening the work in various ways the composer began to consider doing so himself. Subject to other demands, he did not begin serious work on this until 1882, concluding his revision as a four act opera the following year with the premiere, at La Scala, having to wait until 1884. This new shorter four-act revision involved much rewording to explain the sequence of events and maintain narrative and dramatic coherence. Verdi’s own reworking involved the removal of the
Fontainebleau act, the
Ballet and the
Inquisitors’ chorus in act five as well as other detailed changes. The full story of the genesis of
Don Carlos, and its various forms, is told in detail in section 2 of the fourth part of my Verdi Conspectus. The premiere of the new four act
Don Carlo, which has become known as the 1884 version, was a great success at La Scala with the tenor Tamagno, who created
Otello three years later, singing the title role. As is now accepted, a version sung in English, is denoted by the French title of
In Britain an abbreviated five-act version produced by Visconti and conducted by Giulini at Covent Garden heralded a renaissance of the work worldwide. However, the economics of staging generally favoured the shorter 1884 version and this was what Opera North presented in 1993, a halcyon period in its history with productions of
The Thieving Magpie,
La Gioconda appearing on the roster.
The original 1993 production by Tim Albery, in sets by Hildegard Bechtler, featured John Tomlinson as Philip with Opera North stalwarts Keith Latham, David Gwynne and Clive Bayley as Rodrigo, the Inquisitor and the Monk. By the first revival in 1998 Bayley had become the Inquisitor with Alastair Miles as Philip and Julian Gavin as the eponymous Carlos. With Albery returning to refresh his creation, all three reprised these roles in the 2009 staged revival whose presentation was assisted, stimulated and aided by support from the Peter Moores Foundation and by this recording. The recording joins that of Verdi’s
Nabucco in Chandos’s
Opera In English series in featuring Opera North forces under Richard Farnes.
In my review of the live performances I found the dramatic scene between Philip and the Grand Inquisitor lost a little because of the similarity of the voices of Miles and Bayley, each a strong but lean bass. I am pleased to note that in this recording the latter has reverted to the Monk with the Inquisitor being sung by the equally strong but tonally more sonorous and vocally distinct John Tomlinson. As in the theatre, Richard Farnes whips up a fire in this scene to great dramatic effect in what is one of the particularly notable all-male duets in the work (CD3 trs. 4-5). Another of those significant duets occurs between Philip and the idealistic Posa after the King has discovered Elisabeth unattended and dismissed her companion. This is perhaps the greatest improvement Verdi made in his many alterations to the score. In this recording it lacks a little of its power and dramatic thrust. The chilling effect of the King’s warning to beware the Grand Inquisitor also suffers. In my view this is more to do with the use of English than any failing of the singers. William Dazely’s Posa responds well to a King filled with doubts (CD 1 trs.16-18).
In terms of Verdi singing the male side is particularly well served here. Alastair Miles sounds suitably old and weary as he reflects on married life in the loneliness of his study (CD 3 tr.2-3). This follows the wonderful cello chords of the introduction that sets the mood for his soliloquy (tr1). Dazely’s Posa was a real revelation in the theatre and is so in this recording. His portrayal is wholly convincing with the highlight of his interpretation being his singing in the prison scene and as Posa dies (CD 3 tr.11-15). In the theatre I found Julian Gavin’s Carlos a little over-sung and wanting in more gentle phrasing and caressing of the vocal line. I am pleased to say most of those problems are absent here with the tenor singing an ardent and well-characterised performance. This is particularly clear in the duet with Posa (CD 1 tr.5) and in how he handles the confusion in the Garden Scene when Carlos confuses Eboli with Elisabeth and declares his love (CD 2 trs.3-5).
On stage Janice Watson portrayed a rather glacial Elisabeth, not many marital comforts for Philip I suspected. As on that occasion she sings her last act aria with silvery tone and well-drawn phrasing (CD 3 trs.18-19) adding to my favourable impression in the following duet with Carlos (trs.20-21). Jane Dutton’s lyric mezzo has a variety of vocal colours and is effective in both the lyrical
Moorish song (CD 1 tr.8) and as she dramatically regrets her own beauty after admitting her adultery with Philip (CD 2 tr.10).
As in the theatre, all the singers have excellent diction, the males in particular. However, this makes me acutely aware of the limitation imposed by the compromised relationship of English language prosody with Verdi’s music; they have to get their voices around the words while keeping true to the vocal line in what is accepted as a good translation by Andrew Porter. In his constant reversal to the French language for his various revisions, Verdi wrote in a manner for the words to sit on the music, much as the
bel canto composers did half a century before. For many listeners being able to hear the words so clearly allows the story to unfold without their having to read the libretto along the way.
In the theatre, Albery’s management of the
auto da fe scene (CD 2 trs. 6-10) was exemplary with an impressively staged pyre an added
coup de théâtre. In this recording, with a strong roster of Flemish deputies, the committed singing of the chorus and with Farnes again lighting metaphorical fires in the orchestra it is an equal
tour de force.
-- Robert J Farr, MusicWeb International
Works on This Recording
Don Carlos by Giuseppe Verdi
John Tomlinson (Bass),
Jane Dutton (Soprano),
Alastair Miles (Bass),
Janice Watson (Soprano),
William Dazeley (Baritone),
Clive Bayley (Bass),
Julian Gavin (Tenor)
Opera North Chorus,
Opera North Orchestra
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