The opener to the new season at Covent Garden; a Donizetti semi-rarity. Last Saturday's was the first performance at Covent Garden, ever; I went to the second one on Tuesday. A concert performance, with all the singers relying on their scores, a sure sign that this isn't a repertoire staple. Synopsis is available on the ROH website. Dom Sébastien was a youthful king. A helpful programme note said
Chronic inbreeding between the Spanish Hapsburgs and the Portuguese house of Avis was the likely cause not just of Sebastião's father's premature death but also the premature death of all his uncles. It was also the likely cause of instability in Sebastião and in his cousin, the deformed Don Carlos (qv) of Spain. In fact, so inbred were the two families that Sebastião, who should have had eight great grandparents like the rest of us, could only number four
In fact, in some ways there was a slight reminisce of Don Carlo (s) perhaps mostly in the appearance of the Grand Inquisitor (No one expects the...Portuguese Inquisition.
I had never heard this work before. I have strong memories of there being some very beautiful music, but, really none of it memorable, and I feel that if I don't hear Acts 1, II, IV, V again it really wouldn't bother me overmuch. Opera Rara were recording it for release in February 2007; perhaps I shall buy the CD on account of having been there - assuming they manage to correct a few howlers in the studio.
Act III was absolutely superb, though, especially the Requiem. And I had one of those moments - I was sat in the Slips, ie front row along the side of the auditorium, and at the end of Act III I was leaning over, with my arms extended clapping and a big grin like a lunatic on my face, and Mark Elder saw me, caught my eye, and smiled and nodded (he had a bit of a lunatic grin, too).
I thought that the Stand-out performance was from Vessilina Kasarova. Alastair Miles was excellent as the Grand Inquisitor. Simon Keenlyside was impressive in a relatively small role. Some people argue it wasn't a small role; I contend that he made it seem much bigger than it was, but he spent relatively little time on stage. Renato Bruson had withdrawn and was replaced by a chap by the name of...Caruso. Carmelo Corrado Caruso. He wasn't bad, notwithstanding a wobble at the start of Act 4.
The strangest thing was the tenor in the title role, Giuseppe Filianoti, reportedly the next big thing. Intriguing. A very beautiful voice. Good-looking. Engaging stage presence. But, in his showpiece aria at the end of Act 2, it was very strange. I had been warned that he had sung it flat on Saturday so I was alert. In the first verse I was thinking - I can certainly say he's not sharp - and when the second verse came I knew he had been flat in the first. Each verse finished with a vocal pyrotechnic, which was sung twice at the end of the second. On the first two attempts it was a bit strained and unpleasant. On the third attempt he just missed it entirely, and the auditorium took a collective breath. The very elderly chap next to me jerked bolt upright and banged his fist on the padded rail in front. It seemed such a shame because for the rest of the opera, I kept hearing this absolutely gorgeous voice and wondering where it was coming from (I had a slightly restricted view so couldn't see him without leaning forward).
As well as Filianoti cracking and Caruso wobbling, a 'period' horn flubbed a solo passage (much as I like period instruments, maybe there's a reason they invented modern horns) and a mobile phone went off.
The orchestra otherwise were superb and the chorus sounded wonderful. I shall remember the Requiem for a long time, but it seems that there is good reason that this opera has been buried in obscurity for so long. I didn't feel able to care greatly about the story or the characters, and the music had its moments rather than long periods of sustained loveliness. And the Final Act ended as a dramatic wet squib.
Professional reviews: Never mind the quality ..., from the Guardian, Treasure trove in the grand style, Independent, Times.
Cast included:
Vesselina Kasarova: Zayda
Giuseppe Filianoti: Dom Sébastien
Alastair Miles: Dom Juam de Sylva
Simon Keenlyside: Abayaldos
Carmelo Corrado Caruso: Camoens
Mark Elder conducted
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