© Monika Rittershaus
"The largely straight forward dramaturgical structure enabled me to relate Don Carlo´s story in a telling and plausible way" so Peter Stein, director of this new production of Verdi' s Don Carlo. Originally it was composed as a grand opera in the tradition of Meyerbeer for the Paris Opera with a French libretto. This production of the Salzburg festival used the French Original in its Italian translation by de Lauzieres, Zanardini and Faggioni including all 5 acts which makes the story more transparent. Peter Stein´s staging is based on a meticulous and critical examination of the text. He concentrates on the relation between the characters and avoids unnecessary actions. He encircles his telling with wonderful colourful positive pictures created by stage designer Ferdinand Woegerbauer. The full moon shines on the carneval bal, the autodafe is an omnium gatherum of the high society of the Spanish empire lacking any revolt of the crowd. The Juste monastery is a clear bright hall, Philipp´s study room is a small tense cabinet on the right edge of the stage. Everything leads to the dramatic progress of Carlo´s affection to his mother Elisabetta as well as the political plot of Posa or Eboli´s revenge. The audience is thrilled and highly affected. Antonio Pappano knows well how to guide the Vienese Philharmonic orchestra through this composition of emotions, intrigues and cool heartlessness of the Spanish court. Their play is in harmonious connection with the brilliant cast. Jonas Kaufmann, the young Infant Carlo falls in love with Elisabetta sung by Anja Hateros to reckondesperately that their love relation has no future. Their personal disaster starts and we could feel it convincingly in their perfect singing and acting. The powerful but lonely Emperor Philipp II of Matti Salminen lacks a strong voice. Based on his long lasting career he is able to cover his limits and shows an old resignating man at the end of his reign. Thomas Hampson is a fine noble Spanish aristrocat revolting against the king dreaming of a free Flanders and betting on Carlo as his companion. He shows pride and political sense packed in his fine timbre of his bariton. Ekaterina Semenchuks Eboli is dramatic but never metalic or harsh. Eric Halvarson is once again an incarnation of the role of the Great Inquisitor. At the end healthy warm bravi for everybody.
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