Confused Plot but Magnificent Singing at the Royal Opera – Don Carlo review

Lasting over four hours, including two short intervals, this is Verdi’s longest opera and musically many consider it his greatest.

It was first written in French as Don Carlos in 1866, based on a play in German by Friedrich Schiller, but was quickly translated into Italian and the title changed to Don Carlo.

Verdi also made several changes to the music and further versions followed. The plot is equally confused.

Don Carlos is a prince, eldest son of Philip II of Spain, and he is betrothed to Elizabeth of Valois whom he loves intensely. For political reasons, however, she marries his father instead to secure peace between France and Spain.

Don Carlos is naturally somewhat miffed but is comforted by his friend Rodrigo, Marquis of Posa, and the two men sing a glorious duet pledging eternal loyalty and commitment to freedom and liberty. Later, however, Rodrigo becomes a trusted confidant of King Philip, which strains the relationship.

Meanwhile, Elizabeth’s trusted companion Princess Eboli, has fallen in love with Don Carlos, unaware of his passion for his step-mother. When she discovers this, she vows revenge and plots to reveal to the King the supposed infidelity of Elizabeth.

Don Carlos is arrested, Rodrigo is killed and, at the end, the ghost of Emperor Carlos V, who was the King’s father, appears from his tomb to tell them all that suffering is inevitable except in heaven.

This plot, however, is not why I give this production five stars. First, there is the music itself, passionately played by the Covent Garden Orchestra under French conductor Bertrand de Billy, who controls the dynamics of tempo and volume impeccably to emphasize the drama of Verdi’s composition.

Then there is a superb cast, with American tenor Brian Jagde in the title role and Italian baritone Luca Micheletti as Rodrigo both singing with great power.

However impressive those two were, however, Canadian bass John Relyea added even greater commitment in his anguished portrayal of Philip II and Norwegian soprano Lisa Davidsen was best of all as Elizabeth, bringing a stunning, emotion-packed voice to the role.

Add to this formidable array Russian mezzo-soprano Yulia Matochkina as Princess Eboli, who started slowly but gave a wonderful performance when she lost her temper with Don Carlos, and Ukranian bass Taras Shtonda as the Grand Inquisitor, old, blind and shaking but still terrifying, and it all added up to a wonderful performance.

This production, originally directed by Nicholas Hytner in 2008 and now revived by Dan Dooner, has lost none of its impact and the glorious sets by Bob Crowley are as impressive as ever, with striking costumes in sombre black and bright red accentuating the conflicts of the drama.

Box Office: roh.org.uk or 020 7304 4000 (various dates until 15 July)