I made my debut in this title role at Teatro alla Scala in January 2017. Once again, I’m taking on this Verdi opera, such a pulsating, tormented and complex work, here at the Teatro del Maggio during the festival devoted to Verdi. In Milan, the five-act version was preferred, but here in Florence we’re performing the four-act version, which is also my favourite.
I am also fascinated by the creative process, the adaptations, corrections and cuts that the composer made to this work over the twenty years that passed between the first version in French and the final 1886 version. With Verdi, nothing is left to chance. In studying the different versions, I have found even more evidence of this. However, the completeness of the more frequently staged 1884 Milan version is fascinating and moving. It can be seen, firstly, in the contrast between different parts, when the rapid flurry of events and frenetic music give way to lyrical, melodic oases of absolute beauty. The opera’s appeal is a result of theatrical effect combined with musical genius. But there is no doubt that the individual characters are also fascinating. I am thinking, above all, of Philip Il, and of Rodrigo, but also the Queen. The opera is not named after Don Carlo by mere chance: in the dramatic conflicts around which the plot develops, which can be summed up as rivalry between father and son (Philip II and the Prince, Don Carlo), and differing political viewpoints between the King and Rodrigo and, above all, between the State and the Church, Don Carlo is an impetuous young man when moved by patriotic feelings, and ardent in his obstinate, dangerous love for Elisabeth. Verdi assigns him a challenging tessitura, which demands full mastery of one’s voice. At the same time, he also requires Don Carlo to sing mezza voce, helping to highlight the more lyrical side of this fundamentally impulsive character.
This new production of Don Carlo, on stage for five performances from 27 December 2022 to 8 January 2023, is led by conductor Daniele Gatti and a creative team who seek to highlight, above all, the tragic nature of power (the director is Roberto Andò). There is a stellar cast and anticipation runs high, as is to be expected for this opera which is not staged very often. There will be a live radio broadcast of the 27 December performance, on Rai Radio 3.
