#john relyea

(via The Grim Gallery: Exhibit 4547)

Music Direction Daniele Rustioni Producer Jürgen Rose Don Carlo Charles Castronovo Elisabeth of Valois Maria Agresta Filippo II John Relyea Rodrigo, Marquis of Posa Boris Pinkhasovich Princess Eboli Clémentine Margaine The Grand Inquisitor Dmitry Ulyanov | 28.07.2023

The grey and gloomy weather did not hinder the enthusiasm of the audience at the Bavarian State Opera, where they gathered to witness Jürgen Rose's masterful production of Don Carlo. I only managed to secure a standing place for this sold-out production. Nevertheless, it turned out to be an excellent location at a very reasonable price. My view remained mostly unobstructed, making it a better experience than the more expensive seat I had in Zürich.

The staging was simple, kept minimal for most of the time. The first scene started in the dark Fontainebleau forest, with a giant crucifix serving as the centerpiece and a constant reminder to the omnipotence of the catholic church in the storyline.

The best part of the staging was the auto-da-fé scene. The condemned heretics were tied up on a woodpile as the crowd sang the chorus. A red carpet was rolled out, welcoming the royal procession, followed by a parade depicting the Via Dolorosa, and ending with the presentation of La Pietà. The final scene of Act 3 peaked with the burning of the heretics (with REAL fire), which is often cowardly omitted by other productions. As the curtain dropped, it was greeted by a rapturous ovation from the audience (including me!).

It was a powerhouse presentation by the cast, but, in my opinion, the best performance award would go to Relyea as Filippo II. His commanding presence and emotive singing dominated every scene he was in. While Don Carlo is the title character, Filippo gets the best moments in the opera, from his iconic soliloquy to the duets with the other characters. This version also featured Lacrymosa, giving another opportunity for Relyea's Filippo to shine. I spoke to a young audience member during the intermission (we were probably the only ones who were still under 30). This was his third time seeing Don Carlo, and he said Relyea performed even better in München than in Covent Garden.

Castronovo and Agresta were solid as Carlo and Elisabeth, respectively. During the Fontainebleau duet, they constantly moved around the stage as if it was a rehearsed dance choreography, but it never looked unnatural.

As much as I was disappointed by Tézier's withdrawal, Pinkhasovich was still a top-class replacement. The audience went wild at the end of his bromance duet with Castronovo's Carlo. Ulyanov delivered exquisite vocalism as the Grand Inquisitor, although he sounded younger than Relyea's Filippo. I don't want to label Margaine as the weakest link here, but I wish she had put more subtlety in her attempt at hitting those high notes. Nevertheless, she was dramatically excellent in the role of Eboli.

Bryn Terfel, Renée Fleming, Ferruccio Furlanetto, Solveig Kringelborn, Paul Groves, Hei-Kyung Hong, John Relyea, Sergei Koptchak The Metropolitan Opera Orchestra and Chorus, James Levine Production by Franco Zeffirelli, 2000

Act 1 - E. Don Giovanni's ballroom - 2. Finale Act 1

Soon Zerlina scream is heard; Elvira, Anna and Ottavio, as well as Masetto, make to rescue her. Giovanni re-enters, dragging Leporello and denouncing him as the miscreant. No one, however, believe him, and Act 1 ends in confusion, with Elvira, Anna and Ottavio facing Giovanni and calling down vengeance upon him.

"Trio des yeux" appreciation Part 2, featuring Angela Brower, Rolando Villazón, and John Relyea. (Munich, 2011)

Mostly Mezzo Mondays: a recurring (though not weekly) feature where, on Monday nights, I blog a list of the upcoming broadcasts that have caught my eye on World Concert Hall. My interests: baroque vocal music, art song recitals, and a list of favorite singers.

Earlier this year, Anne Sofie von Otter sang works by Schubert and Zemlinsky in a concert with the New Zealand Symphony Orchestra. (I can’t help but observe with some poignancy that it was recorded two days before her husband’s death in Sydney.) It is coming up for broadcast about half an hour hence, as of the time of this writing, but also appears to be available on demand already. Tuesday, November 13 on Radio New Zealand Concert. 

Obscure French Baroque Mélange, Part 1: Véronique Gens and the Ensemble les Surprises perform works by Rebel, Destouches, Dauvergne, and many others (including the more familiar Rameau and Lully). Tuesday, November 13 on France Musique.

Michelle DeYoung takes on the challenging mezzo role in Bartók’s Bluebeard’s Castle in a concert performance with the Bergen Philharmonic; John Relyea is her Bluebeard. Video livestream Thursday, November 15 on the Philharmonic’s website. 

Christian Gerhaher sings songs from Mahler’s Des Knaben Wunderhorn with the NDR Elphilharmonie Orchestra. Sunday, November 18 on NDR Kultur.