I go to about half a dozen operas a year, mainly by 19th-century Italian and French composers, plus some Mozart, bits of Handel, Richard Strauss and Britten and, most recently, Wagner. Having seen my first Don Carlos — the memorable Luchino Visconti production — more than 50 years ago, I thought then that it had all one could wish for in an opera, and it remains my favourite. Hearing the live broadcast from New York of the Met’s Don Carlos in March, I was reminded once again of the treats in store as the Nicholas Hytner production (which had its first outing in 2008) returns to Covent Garden this month. The seven performances at the Royal Opera House begin this weekend.
Our eminent opera critic, Michael Tanner, will no doubt pen his usual perceptive review, perhaps finding fault with the structure of Verdi’s opera, or with aspects of the production. He may even — but surely not? — be less than enthusiastic about the tempi of the orchestra under the heroic Sir Antonio Pappano, or the singing of one of the major roles. But I shall just revel in the glorious music and the drama of the royal court in 16th-century Spain.
I recall a previous Spectator opera critic, Rodney Milnes, explaining that both Don Carlos and the Ring had similar themes — abuse of power, conflict and the power of love — but that Don Carlos had tunes. And what tunes! Visconti reinstated the Fontainebleau first act, which hitherto had often been omitted, with the eponymous hero’s lovely, and only, solo aria. It was in the next act, in the monastery at Yuste, where he and Rodrigo sing out for libertà for Flanders, that I had my introduction to Tito Gobbi.
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