Semperoper Dresden stands as a testament to resilience and historical significance, having weathered the storms of war and reconstruction. Built in the 19th century by Gottfried Semper, the opera house endured damage during World War II but was meticulously restored to its former splendor by 1985. Throughout its storied past, Semperoper has welcomed world-renowned artists and composers, cementing its place as a cultural icon.
Verdi’s opera, Don Carlo, faced its own trials before becoming a beloved masterpiece. Initially rejected by the Paris Opera, Verdi revised the work for an Italian audience, leading to its premiere in Paris in 1867. Don Carlo marked a significant evolution in Verdi’s style, delving into themes of political intrigue and unrequited love with depth and complexity. The opera has seen multiple versions over the years, each offering unique insights into its characters and plot, demonstrating Verdi’s enduring influence on the operatic landscape.
At Semperoper Dresden, an unforgettable (except 15 first minutes) rendition of Verdi’s monumental opera, Don Carlo, unfolded, featuring a great cast that brought the drama to life with unparalleled artistry and passion.
Filippo II : Alexandros Stavrakakis The most resplendent voice of the evening belonged to Alexandros Stavrakakis in the role of Filippo II. Having previously witnessed his talent at Théâtre des Champs Elysées in La Cenerentola, I was already familiar with his remarkable vocal prowess. Stavrakakis’s cavernous voice suited the character impeccably, and his rendition of the principal aria was nothing short of divine.
Elisabetta di Valois: Elena Guseva , portraying Elisabetta di Valois, delivered a performance of ethereal beauty and grace. With a pure soprano reminiscent of my previous encounter with her in Tosca at Lyon in 2020, Guseva exuded regal dignity and subtle emotion. Her portrayal left me yearning to see her in roles like Otello, where her talents could truly shine.
Don Carlo: Stefan Pop impressed as Don Carlo, showcasing his vocal prowess and dramatic depth. While he faced some challenges in the higher registers, his overall performance was commendable, marking a promising debut that left a lasting impression.
La principessa Eboli: Yulia Matochkina‘s portrayal of La principessa Eboli was a highlight of the evening. Her exceptional mezzo-soprano voice and commanding stage presence brought depth and complexity to the character. Her rendition of the aria was flawless, captivating the audience with its emotional intensity.
Rodrigo, Marchese di Posa: Christoph Pohl, though battling illness, delivered a commendable performance as Rodrigo. I eagerly await the opportunity to see him again under healthier circumstances to fully appreciate his talents.
The staging was well-suited for Don Carlo, with one notable exception—the perplexing opening sequence of Act 1. This prelude, performed by two young actors, felt disconnected and devoid of meaning, compounded by the fact that the music wasn’t even by Verdi. Unfortunately, a similar misstep occurred in the second part, where the actors engaged in dance and comedy, leaving much of the audience unengaged and checking their watches.
Under the baton of Jordi Bernàcer, the orchestra delivered a commendable performance overall, although there were noticeable issues with the brass section in Part 2.
In conclusion, while the performance of Don Carlo at Semperoper Dresden showcased exceptional talent and artistry, certain staging choices detracted from an otherwise stellar production.
