Verdi The Schlockmeister: "Don Carlo, A Story Worthy Of Dario Argento"

Opera Chic is a big fan of scary movies, especially the oeuvre of Italian Master Of Schlock Dario Argento, the creepy genius behind so many hemoglobin-dripping crappy bloody bleedy scawy films. Imagine her glee in reading, earlier today, in Corriere della Sera, an interview with Fiorenza Cedolins and Giuseppe Filianoti, Elisabetta and Carlo in the upcoming Don Carlo that will open la Scala's new season this Sunday, Dec 7th., and la Cedolins states that

"...the plot is twisted, more similar to a Dario Argento thriller than to your usual melodramma. It's the third time I sing in a Don Carlo production, I try not to be influenced by the crescendo of stress, I do my best only when I am relaxed. Elisabetta is a difficult part because she's very difficult to define, she survives her inner death that took place when her dream of love came crashing down. Sorrow can kill you, or leave you permanently numb. If I were really in her shoes, there'd be no doubt in my mind, I'd choose Filippo. There's not even a contest in my mind, Filippo is a fascinating character. Unfortunately, that's what Eboli thinks, too". 

Giuseppe Filianoti described his take on Carlo this way:

"Carlo is no hero, he's a weak, insecure, desperate kid. His father neither loves him nor respects him, and steals the object of his affection. I think that his extreme need of affection makes him a sort of Werther, on the verge of an emotional breakdown, with a very feminine sensibility. He faints easily -- the real Carlo was an epileptic -- and his relationship with Marchese di Posa, his best friend, the man Filippo would have wanted as his son, has evident homosexual characteristics. Elisabetta is more of a man than Carlo. She is in charge more than he is, she eggs him on: if you love me, kill your father".

Comments

[Fille du Rhin]

Don Carlo/Don Carlos is my absolute favourite Verdi opera, the conversation between Filippo and il Grande Inquisitore is, in my opinion, the greatest shocker on opera stage! Thankfully Arte will broadcast it live from Milan - Sunday at 7 pm! I´m quit curious how Giuseppe Filianoti will shape the character of Carlo. It must be highly demanding to portray him - as tenors are used to play the virile and vital womanizers! I personally found Ramón Vargas in Peter Konwitschny´s production in Vienna (the original version that Verdi never saw)breathtaking, in his acting as well as vocally.

[Pier Luigi Itsybitsy]

I LOVE Dario Argento, il maestro del giallo! Yet I completely fail to see the parallels between Don Carlo and an Argento movie. In his gialli Argento is a master of complicating very simple plots. Whereas the Don Carlo plot is an example of rather complex storytelling. Same thing with the characters. Argento's characters are more or less flat, or let's say: basic. Whereas most Verdian characters seem to me like an abyss.
If there is an opera by Verdi that comes closest to an Argento movie, I'd say it's Il trovatore. An unnecessarily complicated, but basically very simple story full of strange characters and a lot of coincidences and blood. And, above all, everything we get to see are only the consequences of things that have happened earlier and shaped the unavoidable destiny. So totally Argento!

[furst]

Carlo is a wuss. Yes the opera is ahistorical in that the real Don Carlo was not only an epileptic and badly misshapen (really given all the intermariage its amazing the Spanish Hapsburgs survived as long as the did) but also, not to put too fine a point on it an @$%#. Still, even Schiller ultimately lost interest in Carlo and thus Seniora Cedolinis is absolutely right to say that she would choose Phillip.

Don Carlo is our favorite Verdi Opera as well, not only because every stinkin' note is absolutely glorious but also because the bass gets the girl (kinda sorta, I mean doesn't he?). The confrontation with the GI is magnificent (often undermined by the inadequacy of the GI - although Salminen does fit the bill just about perfectly) but it is "Ella Giammai Mammo" that is the best set piece for male voice not only in Verdi but possibly in all opera (easily in the top 5). Indeed, if we ourselves could sing (other than Karaoke in a state of extreme inibriation) that is the aria we would choose to partake in.

Getting back to the history we do encounter some problems. Schiller's Phillip is 60, the real Phillip 41 (his age difference with Elisabeth is the same as that of Sir Simon and Lady Rattle). He is a somewhat uninspiring beuracrat, and tiny (if one is to judge by historical assment and the itsybitsy armour in Veinna and Madrid - its shorter than us even on its little pedestals). Thus it is somewhat odd though musically appropriate to have him sung by a bass (especially ones the size of a Salminen, who I think is doing part of the run and James Morris), though not moreso than to thave the 90 year old blind GI sung by an ideally even deeper bass. The real Phillip did, however, have a fairly happy marriage with Elisabeth and thus did "get the girl".

Still, the whole thing is great. I hope your going during the run OC. Enjoy.