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cahn4/5. I bought this basically on the strength of seeing Kaufmann talk about his thoughts on Carlo on YouTube, and also the auto-da-fe scene shown in this link (at around 13:40) where Hampson's Rodrigo is all but trying to telepathically yell to Carlo DON'T DO IT!! And it is great, although I definitely imprinted really heavily on the Met 2011 Alagna/Poplavskaya/Keenlyside/Furlanetto so that it took me a while to warm to it sometimes.
Kaufmann and Hampson as Carlo and Rodrigo are both brilliant and they are brilliant actors and singers. They also play the Carlo/Rodrigo friendship as extremely, er, hands-on, though with plausible deniability -- no specific moment where the slashy subtext becomes relatively explicit as it was in Keenlyside's Met 2011 Rodrigo -- but, I mean, on the other hand, Rodrigo literally dies in Carlo's arms, you know? There's at the same time also definitely a distinct vibe of Hampson being older and taller, and thus also having a mentor/big-brother cast to him -- and Hampson's Rodrigo is a very intelligent one; you can always see him thinking really hard about all the events unfolding in front of him.
Now Rodrigo/Philip has a lot more, umm, subtext to it in this production. In Keenlyside/Furlanetto's scene, there wasn't any hint of it anything but a straightforward and imo extremely powerful lord/vassal relationship, whereas in this one, Salminen keeps touching Hampson during this scene -- I mean, just on the shoulder and such, but whenever he does, Hampson makes the most hilariously unsettled faces of "Help, does the Spanish Court have HR I can talk to?" (It is particularly hilarious because he and Kaufmann are way more touchy with each other.) ...This scene maay have made me ship it in an extremely dubcon kind of way. (Well, not completely, because poor Elisabetta -- I love Elisabetta a lot and can't deal with the idea of Posa betraying her -- but I could kinda imagine it where none of the characters really consider it infidelity and Elisabetta feels a kinship for Rodrigo rather than betrayed by him.)
(One thing I adored about the staging was that in the auto-da-fe scene, Hampson and Harteros say their asides to each other (rather than being separated and both just kind of saying them as spoken thoughts, as in Met 2011) -- one of these is visible at the above link. I just really love the thought of the Rodrigo and Elisabetta relationship, how they're both united in their dedication to Carlos and in general just being the awesome people in this opera. <3 )
Speaking of Elisabetta, Harteros was great, although with a tendency to sharp, although I did get imprinted by Poplavskaya's very strong Elisabetta so it took me a while to realize that Harteros was intentionally playing it a bit more emotionally and that both of these are consistent with the libretto :) (Schiller's Elisabeth is also stronger than opera!Elisabeth, which is also affecting my opinions on this.)
Salminen in general did not strike me as nearly as powerful as Furlanetto, although he did get to sing the Lachrymosa with Kaufmann after Rodrigo's death, which is phenomenal and amazing and I feel that all peformances should have this! (I guess it's based on reconstruction of different versions and isn't really in most scores?) I would totally trade the Fontainbleu Act I for this :) I have a lot of feelings about the Rodrigo&Filippo relationship anyway, which this just served to sharpen :)
Kaufmann and Hampson as Carlo and Rodrigo are both brilliant and they are brilliant actors and singers. They also play the Carlo/Rodrigo friendship as extremely, er, hands-on, though with plausible deniability -- no specific moment where the slashy subtext becomes relatively explicit as it was in Keenlyside's Met 2011 Rodrigo -- but, I mean, on the other hand, Rodrigo literally dies in Carlo's arms, you know? There's at the same time also definitely a distinct vibe of Hampson being older and taller, and thus also having a mentor/big-brother cast to him -- and Hampson's Rodrigo is a very intelligent one; you can always see him thinking really hard about all the events unfolding in front of him.
Now Rodrigo/Philip has a lot more, umm, subtext to it in this production. In Keenlyside/Furlanetto's scene, there wasn't any hint of it anything but a straightforward and imo extremely powerful lord/vassal relationship, whereas in this one, Salminen keeps touching Hampson during this scene -- I mean, just on the shoulder and such, but whenever he does, Hampson makes the most hilariously unsettled faces of "Help, does the Spanish Court have HR I can talk to?" (It is particularly hilarious because he and Kaufmann are way more touchy with each other.) ...This scene maay have made me ship it in an extremely dubcon kind of way. (Well, not completely, because poor Elisabetta -- I love Elisabetta a lot and can't deal with the idea of Posa betraying her -- but I could kinda imagine it where none of the characters really consider it infidelity and Elisabetta feels a kinship for Rodrigo rather than betrayed by him.)
(One thing I adored about the staging was that in the auto-da-fe scene, Hampson and Harteros say their asides to each other (rather than being separated and both just kind of saying them as spoken thoughts, as in Met 2011) -- one of these is visible at the above link. I just really love the thought of the Rodrigo and Elisabetta relationship, how they're both united in their dedication to Carlos and in general just being the awesome people in this opera. <3 )
Speaking of Elisabetta, Harteros was great, although with a tendency to sharp, although I did get imprinted by Poplavskaya's very strong Elisabetta so it took me a while to realize that Harteros was intentionally playing it a bit more emotionally and that both of these are consistent with the libretto :) (Schiller's Elisabeth is also stronger than opera!Elisabeth, which is also affecting my opinions on this.)
Salminen in general did not strike me as nearly as powerful as Furlanetto, although he did get to sing the Lachrymosa with Kaufmann after Rodrigo's death, which is phenomenal and amazing and I feel that all peformances should have this! (I guess it's based on reconstruction of different versions and isn't really in most scores?) I would totally trade the Fontainbleu Act I for this :) I have a lot of feelings about the Rodrigo&Filippo relationship anyway, which this just served to sharpen :)
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Date: 2018-06-02 11:20 am (UTC)(Also, I am thrilled at these comments and your crush on Hampson’s Rodrigo! There’s lots of room in this hand basket XD)
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Date: 2018-06-02 02:02 pm (UTC)I'll look forward to your response when you have time. :D
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Date: 2018-06-10 05:31 pm (UTC)Thanks to cahn, it's Kaufmann's rash, ridiculous, obsessive young Carlo that I'm taken with, and his wild obsession with Elisabeth -- to listen to Kaufmann, his Carlo is marked by a reckless abandon that's inherently unstable, which is why he's so needy and clingy and ridiculous, but Kaufmann makes that intense neediness kind of compelling? I mean, it's compelling to Rodrigo, anyway, and to Elisabeth, particularly at the end when you see him get some backbone under him, and sense of duty, thanks to her?
I do think kaufmann's Carlo is in love with/obsessed with Elisabeth -- as you say, this is a prerequisite to the plot making actual sense! -- but that doesn't detract from his also loving and needing his loyal, loving Rodrigo, as he's always done. Imo, the tragedy of that ridiculous boy is that he can't let go of that first possessive obsession with his father's wife (and obsession with proving himself to Daddy), which lends itself to stupid grandiose meaningless gestures that get people killed, and can't join with Rodrigo in a more subtle, smarter political campaign to further his own position politically (as well as actually benefit Flanders). Idk if that makes sense, but that's how the Carlo/Elisabeth and Carlo/rodrigo works in my head, anyway! I've also been shouting my Carlo/elisabeth/rodrigo thoughts at cahn, but that's another story entirely ;)
Eta: I haven't said anything about Hampson that people haven't said better many times before, but I super adore his Rodrigo and is the reason why I ship him/Carlo (and /Philip) like burning. He's such an intelligent performer, imo, and has chemistry with anyone he's on stage with -- viz, against him Carlo comes off rash and obsessive rather than weak and flaky, and you can see how Carlo needs and relies on him? Does that make any sense at all?
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Date: 2018-06-12 03:56 am (UTC)which lends itself to stupid grandiose meaningless gestures that get people killed
Yes, I don't think I object to this part of the character — while I'm facepalming a bit (okay, a lot) at some of the things he does, I totally understand emotionally where he's coming from, and I do think Kaufmann really sells that fundamental emotional place. Though I totally will agree with zdenka that I facepalmed rather more with Kaufmann's Carlo than with Alagna's Carlo, who was rather more centered and acted as a little less dependent on Rodrigo. :) (Not that this is necessarily a bad thing, but kaufmann and Hampson definitely give me more of a vibe of a mentor relationship. Having been imprinted by Alagna/Keenlyside, I envision it more as a Hamlet-Horatio relationship.)
I've also been shouting my Carlo/elisabeth/rodrigo thoughts
hee! I will say that, after thinking about it, the HONOR part is a big enough thing for me that I honestly can't be a fan of even consummated Carlo/Elisabetta (except maybe in a far-out canon divergence, like if Philip was killed but NOT by Carlo?? even then I feel like Elisabetta would have issues with it), much less Elisabetta/Rodrigo at all in a shippy way — but! as a sort of emotional-support-threesome perhaps? TRIO! :)