The Stage

Don Carlos

Published Tuesday 20 September 2005 at 09:35 by Jon Holliday

For the opening of its 60th birthday season, Welsh National Opera chose the grandest of the Verdi canon, the rarely performed five-act version of Don Carlos. Restoring much fine music cut by the composer to make the work more manageable, this staging - ten years in the preparation - proves to be a triumph well worth waiting for.

In crucifix-dominated sets by John Engels, three generations of Spanish royalty are depicted in tests of love and loyalty, caught in a gripping battle between Church and State. The oppressive black crosses change to gory red as the obscene horrors of the Inquisition unfold.

Though at times motivations become confused in this updated police state, where submachine guns clash with 16th century-style tortures and heretic burnings, director John Caird effectively counterpoints the drama’s powerful sweep with the agonising personal choices to be made by individuals.

Costumes by Carl Friedrich Oberle contrast the drabness of war-weary peasantry and sombre-suited formality of the male court with the stylish finery of the female entourage.

The duets of the passionate Carlos and the thwarted Elisabeth, the backbone of the opera, are beautifully handled by husband-and-wife team Paul Charles Clarke and Nuccia Focile, responding with great sensitivity to Carlos Rossi’s masterly control of the orchestra.

Andrea Silvestrelli gives a performance of towering authority as the malevolent Philippe II, well matched in his confrontations with the merciless Grand Inquisitor of Daniel Sumegi.

Outstanding too is the portrayal of the altruistic Posa by Scott Hendricks, while the Princess Eboli of Guang Yang is sung with fine lyrical brilliance. Supporting roles are well characterised and the large chorus under Donald Nally is in impressive form. Sung in the original French with surtitles in English - and Welsh in Wales - this epic co-production with Canadian Opera is surely a must for all lovers of Verdi.