CHICAGO—“Don Carlos” is considered by many opera lovers to be Verdi’s greatest work, and for good reason. In this opera, the legendary Italian composer, always the moral realist, psychoanalyzes larger-than-life characters exposing their motivations, and delves into the conflict between their personal responsibility and societal expectations.
Verdi juxtaposes politics, history, and personal drama, as well as offering a sweeping canvas of 16th-century Spain that makes “Don Carlos” the most powerful and profound of all his operas.
The themes in “Don Carlos” revolve around love versus duty, the conflict between a father and son, vengeance for spurned love, frustrated ambition, and all of these emotional issues are interwoven into a country’s fight for independence, a theme which greatly appealed to Verdi, who was a big supporter of Italy’s independence.
Of course, it’s not only the historical focus and Shakespearean-sized figures that make it a compelling work. It’s also because it possesses some of Verdi’s most inspiring and intense musical scores.
Now, the Lyric Opera of Chicago is presenting the epic musical drama in a triumphant production that is presented as Verdi intended it to be. The Lyric presented Don Carlos in 1996, but that production was a four-act Italian-language version. In this revival, the Lyric is presenting the opera in Verdi’s final 1886 five-act revision in its original French, a challenging feat which is why it’s rarely mounted.
Fictional Story, Real Characters
Based on a play by German author Friedrich Schiller (1759–1805), “Don Carlos” premiered in Paris in 1867. Set against the backdrop of the Spanish Inquisition and the revolt of the Netherlands against Spain, the story is fictional but the characters are real historical figures.The story revolves around the forced marriage of Elisabeth, the daughter of the French king, to Philippe II, the Spanish king, in order to bring the two countries together. We find out early in the opera that Elisabeth was in love with Don Carlos before she was forced into a marriage with Philippe, who is Don Carlos’s father.
Of course, the credit for the mesmerizing musical score, as well as its thematic focus must go to Verdi. He used his opera to express is own political sentiments. The characters of the king and the inquisitor demonstrate his disdain for the abuse of power.
Vibrant Vocalists
Another reason for the success of the opera is the compelling ensemble of performers. Tenor Joshua Guerrero provides a strong vocalization and presence as Don Carlos, portraying the man in the midst of an emotional upheaval and violent passion. Equally expressive and convincing is velvety voiced baritone Igor Golovatenko as Rodrigue, Don Carlos’s friend.Dimitri Belosselskiy portrays Philippe, the Spanish king, with a palpable bass that encompasses a sad despair over his aging and the loveless union of a politically convenient marriage. In addition, Soloman Howard delivers a deep-throated bass as the Grand Inquisitor in a chilling scene in which he uses his power to bend the sovereign to his will.
The highlights of the performances, though, are those of mezzo-soprano Clémentine Margaine as Eboli and Rachel Willis-Sorenson as Elisabeth. Margaine is a wonder as a lady of the court who turns against Elisabeth and, feeling rejected by Carlos, the man she loves, is driven to revenge against him. Her sizzling solo in Act V is a show stopper. And Willis-Sorenson is emotionally expressive and riveting as a woman in the grip of depression because she lacks control over her life and has to bow to the wishes of others.
Furthermore, the opera is given a fantastic energy and excitement by music director Enrique Mazzola, who brought out the best from Lyric’s exceptional orchestra. The production was also enhanced by Brigitte Reiffenstuel’s evocative period costumes, a moving chorus led by chorus master Michael Black, and the towering column set design by Robert Jones that functions as a backdrop for a garden, a prison, and the king’s chambers.
There is only one drawback to this stunning Lyric production. It’s almost four hours long, but if you’re not faint of heart, “Don Carlos” is worth every glorious minute of it.
