yes, i have a problem
Jul. 17th, 2018 08:17 pm(I still have the Villazón Don Carlo to write up, is the really sad thing! gah.)
I watched this deliciously regietheater version of Don Carlos which is the French, super-long 4-hour unabridged first version!! French subtitles with Kaufmann as Carlos, Yoncheva as Élisabeth, Garanča as Eboli, Tézier as Posa, Abdrazakov as Philippe. It appears to take place in the 1950s?? It would so not be a good first Don Carlos (and tbh I wish I'd been able to see a more conventional French version first) but I enjoyed it a lot. (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
zdenka, I can't imagine you want to watch this one, but you might want to listen to it, because the singers are great, and also unrevised first version!! But the actual staging would probably appall you.)
First, some thoughts on the French version:
( Read more... )
Thoughts on this regie production:
( Read more... )
The end result of all of this is a Don Carlos that plays up the tragedy of characters who are alone in their own conceptions of the world: who can't really connect with each other and who they really are. Philippe can't connect with the reality of Elisabeth or Rodrigue; Rodrigue doesn't connect with the reality of Philippe or of Carlos; Carlos doesn't connect with the reality of... a lot of things. Eboli can't connect with Carlos, and by her own actions cuts herself off from connecting with Elisabeth, who turns out to be the only person she in the end wanted to connect with. Elisabeth may in fact see things as they are, but is powerless to escape from all of this. (I tell you, I have never rooted so hard for Elisabeth and Eboli to escape together.) It's interesting to me, and I enjoyed seeing this different take on things -- my own conception of the opera, and why I love it so much, is that it's about very strong relationships, and how the very strength of opposing relationships tears it up into tragedy: Rodrigo/Carlo vs. Rodrigo/Filippo; Elisabeth/Carlo vs. Elisabeth/Filippo; Carlo/Filippo vs. all the rest of these; Eboli/Carlo vs. Eboli/Filippo... it's the very strength of all those relationships that drives the opera for me, and so it was interesting to see a take on it that focused on something so utterly different. But I certainly wouldn't have fallen in desperate love with this one. And now I'm gonna go watch Keenlyside's Posa give Carlo a huge hug :)
I watched this deliciously regietheater version of Don Carlos which is the French, super-long 4-hour unabridged first version!! French subtitles with Kaufmann as Carlos, Yoncheva as Élisabeth, Garanča as Eboli, Tézier as Posa, Abdrazakov as Philippe. It appears to take place in the 1950s?? It would so not be a good first Don Carlos (and tbh I wish I'd been able to see a more conventional French version first) but I enjoyed it a lot. (
zdenka, I can't imagine you want to watch this one, but you might want to listen to it, because the singers are great, and also unrevised first version!! But the actual staging would probably appall you.)First, some thoughts on the French version:
( Read more... )
Thoughts on this regie production:
( Read more... )
The end result of all of this is a Don Carlos that plays up the tragedy of characters who are alone in their own conceptions of the world: who can't really connect with each other and who they really are. Philippe can't connect with the reality of Elisabeth or Rodrigue; Rodrigue doesn't connect with the reality of Philippe or of Carlos; Carlos doesn't connect with the reality of... a lot of things. Eboli can't connect with Carlos, and by her own actions cuts herself off from connecting with Elisabeth, who turns out to be the only person she in the end wanted to connect with. Elisabeth may in fact see things as they are, but is powerless to escape from all of this. (I tell you, I have never rooted so hard for Elisabeth and Eboli to escape together.) It's interesting to me, and I enjoyed seeing this different take on things -- my own conception of the opera, and why I love it so much, is that it's about very strong relationships, and how the very strength of opposing relationships tears it up into tragedy: Rodrigo/Carlo vs. Rodrigo/Filippo; Elisabeth/Carlo vs. Elisabeth/Filippo; Carlo/Filippo vs. all the rest of these; Eboli/Carlo vs. Eboli/Filippo... it's the very strength of all those relationships that drives the opera for me, and so it was interesting to see a take on it that focused on something so utterly different. But I certainly wouldn't have fallen in desperate love with this one. And now I'm gonna go watch Keenlyside's Posa give Carlo a huge hug :)
