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cahnSo for my birthday my sister gave me, among other things, the Villazon ROH Don Carlo, which except for the title role (taken by Rolando Villazón instead of Roberto Alagna) is the same in both staging and singers as the Met 2011 Don Carlo that I adore so much, so that I could have my own copy of Furlanetto, Poplavskaya, and Keenlyside, all of whom I thought were fantastic. They are fantastic here too and I am both happy I own this DVD (I really like to own my Own Copies of things) and happy that there exists a second recorded performance of these guys together because I am obsessed with them and would honestly watch every night of their performances if I could.
So, Villazon! I was not particularly looking forward to him, his frenetic energy not having made a whole lot of impact on me when I saw him in Traviata, and indeed, although he doesn't act Carlo with the extreme immaturity and daddy issues as in the Kaufmann/Hampson I saw, he makes a rather emo Carlo, one who acts very young; I think I preferred Alagna's slightly more mature-acted, somewhat less dramatically-emo Carlo, and Alagna/Keenlyside's Carlo/Rodrigo dynamic really spoke to me as a same-age-best-friends kind of dynamic, whereas Villazon/Keenlyside's Carlo/Rodrigo relationship was a little more as Rodrigo subordinate to a younger Carlo (though with all that super love and devotion there). But what I didn't expect was to be so impressed by Villazon's musicianship as compared to Alagna's --
I was watching "Dio che nell'alma infondere," as one does, and they were halfway through and I realized that I was bracing myself for Villazon and Keenlyside not doing the cutoffs together or not singing their lines quite together, and they were actually pretty much hitting them straight on! I realized then that Alagna and Keenlyside must not have quite gotten those, and that was what I was responding to. (I mean, they do fine. It's pretty subtle and I thought I was going crazy at first. See Villazon/Keenlyside vs. Alagna/Keenlyside) Also, as a result of Alagna/Keenlyside being my first Carlo/Rodrigo, I had no idea that "Dio che nell'alma infondere" and their repeats are supposed to be PIANO -- Alagna hits that thing super hard! (Keenlyside, poor guy, is trying to do at least the repeat as piano, and Alagna is just bulldozing straight through.)
It's also true that occasionally Villazon's high notes in this go kind of crazy -- this was apparently during the period he was having some issues with his voice; I don't remember anything like this being a problem when I saw his Traviata. When he sings "Io m'abbandono a te" with Keenlyside and it's supposed to be a major third up... it's... not.
There are some tiny differences in the staging in the ROH , like, they are all facing away from the audience for the end of the auto-da-fe (which makes no sense, no wonder they changed it for the Met) and Keenlyside doesn't have the swords and hat he's lugging around in the Met (tbh I love when he tries to resign his sword to Furlanetto in the Met version and Philip won't take it, which interplay isn't in the ROH at all). Keenlyside's ROH interpretation also doesn't have Rodrigo having an explicitly slashy disappointed moment when Carlo reveals he's in love with Elisabetta, but, I mean, his ROH Rodrigo so obviously adores his Carlo, after Carlo gives him the letters they embrace and Rodrigo kisses Carlo's hair, which, So Many Feelings -- and in the ROH (though not in the Met, and I think this is proper because it works better for the ROH Rodrigo/Carlo relationship than the Met best-friends relationship, where Alagna and Keenlyside are both standing) Keenlyside ends "Per me giunto" on one knee in front of Villazon, touching his hair and half-embracing him, which, also, have I mentioned, All The Feelings EVER AHHHH THIS OPERA ahem.
Keenlyside sings his death aria mostly half-kneeling in ROH as opposed to lying-on-the-ground (no, seriously, is there anything he can't do?) in the Met, but in both he acts it so brilliantly and, I mean, he totally sells it as Rodrigo mortally wounded but he can't just lie down and die just yet because he has to say important things like Don't Forget Me and Save Flanders, and dying sucks and is hard and actually kind of awful, but at the same time he is happy in his heart because he's saved his Carlo's life (this is all in the music, but still how does he manage to do both?? Even Hampson only really just picked the one) and it breaks my heart Every Single Time I watch either one. (You know where the "Dio che nell'alma infondere" theme comes back in? It's so obvious when I listen to it, and yet I've never yet managed to notice it when watching Keenlyside because I'm so busy being completely heartbroken.)
One of the unfortunate differences (for the ROH) between the Met and ROH is that the Met has much better videography, and, I mean, if I'm noticing then it must be pretty obvious. The Met videography has a good sense of all the important things going on in a scene and what things need to be focused on -- for example, in the auto-da-fe while Carlo and Filippo are having their standoff, Rodrigo isn't singing but it's actually really important for us to have some idea of what Rodrigo is doing/thinking at this point, otherwise the scene loses a lot of its meaning. In my opinion, anyway :) And in the Met, we see a good deal of Rodrigo's reactions, whereas in the ROH video we don't see nearly as much of it. Or, in Restate, in both ROH and Met versions, when Rodrigo cries out, "La pace e dei sepolcri!" it's played as Filippo stepping menacingly towards Rodrigo, and it's a really powerful moment. The Met videographer shows Filippo's movement, but the ROH videographer chooses to close-up on Furlanetto, which, I mean, isn't the worst choice in the world, but it loses the whole momentum of that menacing moment. Anyway, I think it's almost entirely due to the videography that when I watched the Met I was riveted, and when I watched the ROH it was great but not quite to that level of omg-must-watch-entire-thing-NOW (except, of course, for everything with Rodrigo :D )
So, Villazon! I was not particularly looking forward to him, his frenetic energy not having made a whole lot of impact on me when I saw him in Traviata, and indeed, although he doesn't act Carlo with the extreme immaturity and daddy issues as in the Kaufmann/Hampson I saw, he makes a rather emo Carlo, one who acts very young; I think I preferred Alagna's slightly more mature-acted, somewhat less dramatically-emo Carlo, and Alagna/Keenlyside's Carlo/Rodrigo dynamic really spoke to me as a same-age-best-friends kind of dynamic, whereas Villazon/Keenlyside's Carlo/Rodrigo relationship was a little more as Rodrigo subordinate to a younger Carlo (though with all that super love and devotion there). But what I didn't expect was to be so impressed by Villazon's musicianship as compared to Alagna's --
I was watching "Dio che nell'alma infondere," as one does, and they were halfway through and I realized that I was bracing myself for Villazon and Keenlyside not doing the cutoffs together or not singing their lines quite together, and they were actually pretty much hitting them straight on! I realized then that Alagna and Keenlyside must not have quite gotten those, and that was what I was responding to. (I mean, they do fine. It's pretty subtle and I thought I was going crazy at first. See Villazon/Keenlyside vs. Alagna/Keenlyside) Also, as a result of Alagna/Keenlyside being my first Carlo/Rodrigo, I had no idea that "Dio che nell'alma infondere" and their repeats are supposed to be PIANO -- Alagna hits that thing super hard! (Keenlyside, poor guy, is trying to do at least the repeat as piano, and Alagna is just bulldozing straight through.)
It's also true that occasionally Villazon's high notes in this go kind of crazy -- this was apparently during the period he was having some issues with his voice; I don't remember anything like this being a problem when I saw his Traviata. When he sings "Io m'abbandono a te" with Keenlyside and it's supposed to be a major third up... it's... not.
There are some tiny differences in the staging in the ROH , like, they are all facing away from the audience for the end of the auto-da-fe (which makes no sense, no wonder they changed it for the Met) and Keenlyside doesn't have the swords and hat he's lugging around in the Met (tbh I love when he tries to resign his sword to Furlanetto in the Met version and Philip won't take it, which interplay isn't in the ROH at all). Keenlyside's ROH interpretation also doesn't have Rodrigo having an explicitly slashy disappointed moment when Carlo reveals he's in love with Elisabetta, but, I mean, his ROH Rodrigo so obviously adores his Carlo, after Carlo gives him the letters they embrace and Rodrigo kisses Carlo's hair, which, So Many Feelings -- and in the ROH (though not in the Met, and I think this is proper because it works better for the ROH Rodrigo/Carlo relationship than the Met best-friends relationship, where Alagna and Keenlyside are both standing) Keenlyside ends "Per me giunto" on one knee in front of Villazon, touching his hair and half-embracing him, which, also, have I mentioned, All The Feelings EVER AHHHH THIS OPERA ahem.
Keenlyside sings his death aria mostly half-kneeling in ROH as opposed to lying-on-the-ground (no, seriously, is there anything he can't do?) in the Met, but in both he acts it so brilliantly and, I mean, he totally sells it as Rodrigo mortally wounded but he can't just lie down and die just yet because he has to say important things like Don't Forget Me and Save Flanders, and dying sucks and is hard and actually kind of awful, but at the same time he is happy in his heart because he's saved his Carlo's life (this is all in the music, but still how does he manage to do both?? Even Hampson only really just picked the one) and it breaks my heart Every Single Time I watch either one. (You know where the "Dio che nell'alma infondere" theme comes back in? It's so obvious when I listen to it, and yet I've never yet managed to notice it when watching Keenlyside because I'm so busy being completely heartbroken.)
One of the unfortunate differences (for the ROH) between the Met and ROH is that the Met has much better videography, and, I mean, if I'm noticing then it must be pretty obvious. The Met videography has a good sense of all the important things going on in a scene and what things need to be focused on -- for example, in the auto-da-fe while Carlo and Filippo are having their standoff, Rodrigo isn't singing but it's actually really important for us to have some idea of what Rodrigo is doing/thinking at this point, otherwise the scene loses a lot of its meaning. In my opinion, anyway :) And in the Met, we see a good deal of Rodrigo's reactions, whereas in the ROH video we don't see nearly as much of it. Or, in Restate, in both ROH and Met versions, when Rodrigo cries out, "La pace e dei sepolcri!" it's played as Filippo stepping menacingly towards Rodrigo, and it's a really powerful moment. The Met videographer shows Filippo's movement, but the ROH videographer chooses to close-up on Furlanetto, which, I mean, isn't the worst choice in the world, but it loses the whole momentum of that menacing moment. Anyway, I think it's almost entirely due to the videography that when I watched the Met I was riveted, and when I watched the ROH it was great but not quite to that level of omg-must-watch-entire-thing-NOW (except, of course, for everything with Rodrigo :D )
no subject
Date: 2018-08-14 03:19 am (UTC)I love Simon, but I imprinted on Milnes as a kid :D Simon's Rodrigo is wonderfully gay, though.
no subject
Date: 2018-08-17 10:01 pm (UTC)