But I actually don't consider that a bad thing. I am much more familiar with the opera in Italian and French, so it was unusual for me. On the most part though, it did work, though Dio Che Nell'Alma Infondere to me didn't really sound like a friendship duet. Actually my only real complaints with this Deutsch Oper production were some of the cuts, here the part with the mysterious friar at the end is cut and for me that didn't make sense(plus I have always preferred Don Carlo in its five act version as the Fontainbleu act really adds to the story and drama to me), and some stiff acting from both King and Fischer-Dieskau in Dio Che Nell'Alma Infondere, Fischer-Dieskau's reaction to King's exclamation of "Elisabeth" especially was like he had heard the worst swear word in the world.
However, while the filming is nothing absolutely extraordinary, often coming across as basic with one camera angle zooming in and out, it does serve its purpose well. And more importantly it does not uglify the production values, which with the austere settings, beautiful costumes and geometric lines actually look quite handsome. Musically, there was little to fault. Of course I do think Dio Che Nell'Alma Infondere dragged in terms of tempo(even Giulini's 1970/1 recording wasn't this dull in this scene), however Posa's confrontation with Phillip and the Grand Inquisitor scene were really effective, as is the confrontation between Elisabetta and Phillip sounds as though it is literally on fire. Sawallisch's conducting I do prefer in Strauss but it is always rock solid, and the orchestral playing is always powerful and expressive.
The performances are great I felt. James King gives a Don Carlo that is both ardent and virile, the role is one of Verdi's most demanding tenor roles but I have always found Posa, Eboli and Phillip in this opera more interesting characters. Regardless like he did in 1970's Fidelio and 1983's Die Tote Stadt, King is very believable and quite heroic as Carlo. And he sings very strongly with a big yet nuanced sound, no straining or shouting in sight. I for one found myself surprised by Dietrich Fischer-Dieskau's Posa. I am actually a fan of this baritone, but for some reason never always found his Verdi idiomatic, either too blustery or overly-refined, and felt he was the only weak link of the classic Solti recording. However, he as ever sings intelligently and really beautifully especially in his affecting O Carlo Ascolta. And while stiff to start with, by his scene with Griendl's Phillip he is exciting, noble, heroically warm and tenderly moving.
Pilar Lorengar I did have reservations about initially, as I did think her voice was too small for Elisabetta. That said, while I still can't say that the voice is ideal, I found her singing of great purity with attention to beauty of tone. Her acting is very poignant and dutiful, and Tu Che Le Vanita was actually really riveting. Patricia Johnson is not the most dimensional of all Ebolis, but sings and acts very compellingly. You do at least feel Eboli's sadness and vindictiveness here, and of her big solos while the Veil Song does show some very well-done florid passage-work it is in her very impassioned rendition of the dramatic O Don Fatale where she really sells herself.
Josef Griendl sings with his usual distinctive tone as King Phillip, especially in the elegantly phrased Ella Giammai M'ammo, though because of some flat and wobbly moments I do think he has sung better. Dramatically though of this very conflicted character, I also think Griendl does a splendid job, vulnerable in Ella Giammai M'ammo and ruthlessly cruel in both the Act 1 scene between him and Posa and in his scene with Elisabetta. What really stood out was how he stared into Fischer-Dieskau's eyes and slowly circled him in trying to understand Posa's motivations, really tense and beautifully done. Martti Talvela I have always considered one of the best Grand Inquisitors of all time, and I still stand by my opinion here. Maybe he is marginally better on record under Solti, but there is no denying that this is one chilling performance where he is well and truly in his prime. As well as that, what also made Talvela stand out for me was not just that his very rich, black-hearted voice was enough to even intimidate a pride of lions but he does bring nuances and vocal colours to his singing that few other Grand Inquisitors do, not even Jerome Hines whose Inquisitor oozes with authority and evil.
Lisa Otto is the very meaning of angelic in the role of the Celestial Goddess, while Gunter Treptow does well in the small role of Count De Lerma. Overall, while not one of my absolute favourite productions of Don Carlo(like the 1984 Domingo, Freni and Ghiaurov, 1980 Scotto, Milnes and Plishka and 1996 Alagna, Mattila and Van Dam) this is really very good. Some of the cuts, a couple of moments of stiff acting at the start and the fact that it's in German may deter some people, but essentially it is very handsomely mounted and wonderfully sung, Fischer-Dieskau and Talvela for me really stood out. 7.5/10 Bethany Cox
However, while the filming is nothing absolutely extraordinary, often coming across as basic with one camera angle zooming in and out, it does serve its purpose well. And more importantly it does not uglify the production values, which with the austere settings, beautiful costumes and geometric lines actually look quite handsome. Musically, there was little to fault. Of course I do think Dio Che Nell'Alma Infondere dragged in terms of tempo(even Giulini's 1970/1 recording wasn't this dull in this scene), however Posa's confrontation with Phillip and the Grand Inquisitor scene were really effective, as is the confrontation between Elisabetta and Phillip sounds as though it is literally on fire. Sawallisch's conducting I do prefer in Strauss but it is always rock solid, and the orchestral playing is always powerful and expressive.
The performances are great I felt. James King gives a Don Carlo that is both ardent and virile, the role is one of Verdi's most demanding tenor roles but I have always found Posa, Eboli and Phillip in this opera more interesting characters. Regardless like he did in 1970's Fidelio and 1983's Die Tote Stadt, King is very believable and quite heroic as Carlo. And he sings very strongly with a big yet nuanced sound, no straining or shouting in sight. I for one found myself surprised by Dietrich Fischer-Dieskau's Posa. I am actually a fan of this baritone, but for some reason never always found his Verdi idiomatic, either too blustery or overly-refined, and felt he was the only weak link of the classic Solti recording. However, he as ever sings intelligently and really beautifully especially in his affecting O Carlo Ascolta. And while stiff to start with, by his scene with Griendl's Phillip he is exciting, noble, heroically warm and tenderly moving.
Pilar Lorengar I did have reservations about initially, as I did think her voice was too small for Elisabetta. That said, while I still can't say that the voice is ideal, I found her singing of great purity with attention to beauty of tone. Her acting is very poignant and dutiful, and Tu Che Le Vanita was actually really riveting. Patricia Johnson is not the most dimensional of all Ebolis, but sings and acts very compellingly. You do at least feel Eboli's sadness and vindictiveness here, and of her big solos while the Veil Song does show some very well-done florid passage-work it is in her very impassioned rendition of the dramatic O Don Fatale where she really sells herself.
Josef Griendl sings with his usual distinctive tone as King Phillip, especially in the elegantly phrased Ella Giammai M'ammo, though because of some flat and wobbly moments I do think he has sung better. Dramatically though of this very conflicted character, I also think Griendl does a splendid job, vulnerable in Ella Giammai M'ammo and ruthlessly cruel in both the Act 1 scene between him and Posa and in his scene with Elisabetta. What really stood out was how he stared into Fischer-Dieskau's eyes and slowly circled him in trying to understand Posa's motivations, really tense and beautifully done. Martti Talvela I have always considered one of the best Grand Inquisitors of all time, and I still stand by my opinion here. Maybe he is marginally better on record under Solti, but there is no denying that this is one chilling performance where he is well and truly in his prime. As well as that, what also made Talvela stand out for me was not just that his very rich, black-hearted voice was enough to even intimidate a pride of lions but he does bring nuances and vocal colours to his singing that few other Grand Inquisitors do, not even Jerome Hines whose Inquisitor oozes with authority and evil.
Lisa Otto is the very meaning of angelic in the role of the Celestial Goddess, while Gunter Treptow does well in the small role of Count De Lerma. Overall, while not one of my absolute favourite productions of Don Carlo(like the 1984 Domingo, Freni and Ghiaurov, 1980 Scotto, Milnes and Plishka and 1996 Alagna, Mattila and Van Dam) this is really very good. Some of the cuts, a couple of moments of stiff acting at the start and the fact that it's in German may deter some people, but essentially it is very handsomely mounted and wonderfully sung, Fischer-Dieskau and Talvela for me really stood out. 7.5/10 Bethany Cox
