Review: Lise Davidsen lights up old Covent Garden Don
NewsBy Hugh Kerr of Edinburgh Music Review:
After two underwhelming nights with ‘Werther’ and ‘Trovatore’ (see Slipped Disc earlier), it’s good to report that Covent Garden was in top form in the first night of ‘Don Carlos’. This isn’t a new production, it is Nicholas Hytner’s old production revived by Daniel Dooner and it still works well. This is a theatrical production where the drama on the stage amplifies Verdi’s music. It’s also good to report that the Covent Garden’s orchestra was in great form under the baton of Bertrand de Billy. Its superb chorus in really powerful and dramatic form under the direction of William Spaulding.
Don Carlos takes a long time to progress, beginning at 5.30 pm and ending at 10.30. Brian Jagde as Don Carlos made a shaky start with his first aria but got better as the night went on. Yulia Matochkina seemed underpowered as Ebola but by the time of her great aria ‘Don Fatale’, she was in good form and got a great response from the first night audience. John Relyea, always a reliable bass at Covent Garden, again started slowly as King Phillip but his ‘Ella giammai mo’ brought back memories of Boris Christoff in his prime. The Grand Inquisitor Taras Shtonda was suitably shambling and menacing although he gave us a little skip at curtain call to show us he was only acting. All the other minor parts were well covered. Lise Davidsen was the jewel of the evening.
I first came across Lise Davidsen in a terrible production of ‘Medea’ at Wexford some years ago by Fiona Shaw. Since then I have followed Davidson’s career all over the world both on stage, on film and on record. I saw her superb Leonora, upstaging Jonas Kaufmann on the last night of ‘Fidelio’ before Covent Garden closed for the pandemic. I saw her blow Kaufmann off the stage in Vienna as Ellen Orford in Peter Grimes (arguably too big a voice), I saw her as Elisabeth, the only redeeming feature of a disastrous first night of ‘Tannhauser’ at the Garden last January. She is signed up for years ahead by the Met and Bayreuth for heavy Wagner operas where she has already made her mark. I was with a friend last night, a former soprano who has sung at Bayreuth, who cautioned that sometimes a voice can be too big for a part. So it was interesting to note that in her earlier arias tonight Davidsen was very deliberately controlling her great instrument and not overpowering her fellow singers, but by the last act the mighty instrument was unleashed and stunned us all, including my operatic friend, in her ‘Tu che le vanita’. This is not only a big voice, it’s a great voice in its colour, its range, its musicality. For me Lise Davidsen is the greatest dramatic soprano since Callas, indeed I’m listening to Callas sing the same aria as I write this. I know that ‘Slipped Disc’ critics will get their knives out, but before committing yourself to words, I urge you to go and see it. There are still tickets available for the rest of the run. You won’t regret it, this is one of the performances that will stay with you for a lifetime.
Hugh Kerr is editor of Edinburgh Music Review, where a fuller review will appear.
‘Ebola’ is a horrible disease. The character in this opera is called Eboli.
I believe there was a scene in an early version of the opera when Ebola and La Duchessa di Salmonella had a duet in the palace lavatories.
I’am not a specilist. I have seen her in opera twice in Bayreuth but I have the feeling that she’s the best woman singer today. At least one of the two or three best.
She is spectacular. If she’s now doing a lot of Verdi as well as her exemplary Wagner and Strauss, can’t see why so many houses still crave Netrebko (who of course is also exceeded by Radvanovsky and several others).
So was it “Don Carlos” (five acts in French, and if so was the ballet included?) or “Don Carlo” (four or five acts in Italian, depending on which edition was used: Milano or Modena)?
Ebola is a virus; Eboli is a princess in an opera.
Her big aria begins with the words “O don fatale” or “Ô don fatal”.
The great monologue of Filippo/Philippe begins with “Ella giammai m’amò” or “Elle ne m’aime pas”.
I have heard Lise Davidsen numerous times and I always come away with the same thought: “Wow, that was loud”! In the “Peter Grimes” in which she allegedly blew “Kaufmann offstage” she struggled unsuccessfully to try some passages in pianissimo. Didn’t work, so back to yelling everything.
The colleague with whom I attended – herself a fan of Davidsen and everything Wagner – agreed that this voice seriously needs some more training. Even Elektra has been given some soft passages.
I was going to say the same. It’s amazing that an “opera critic” can make so many embarrassingly basic mistakes. Sounds like he needs a good editor to correct them all. Oh wait…. he *is* the editor.
Amateur publication.
Hard to take any review seriously that calls Eboli ‘Ebola’. I know the spurned princess is pretty poisonous, but this is a step too far!
The usual banalities, this time seasoned with too much ego. Count the references to self.. I this, I that. Mr Kerr has no idea what he is drivelling on about.
Hugh must look up that Don Carlo and Don Carlos aren’t interchangeable and also Ebola? Deary me, someone do some editing instead of publishing straight from his scratchpad.
“Don Carlo” and “Don Carlos” are not interchangeable in the same way that “The Magic Flute” and “Die Zauberflöte” are not interchangeable. Both describe the same opera, but they do so in different languages. People who get huffy about this should be required repeat Леди Макбет Мценского уезда perfectly before commenting.
This is a strange take for me. I found Davidsen weak in this role: lacking any variety of colour and Verdian style. It was just LOUD with a singular steely sound. She has an incredible instrument but this was just not good.
Brian Jagde was shaky and the production is underwhelming.
My highlight of the evening was Micheletti as Posa, and Relyea didn’t disappoint either.
I have heard Ms Davidsen a few times at the Met. The voice is gorgeous and enormous and she seems to be careful not to overwhelm her colleagues. However, when she lets rip – well, you’ve never heard anything like it I can assure you.
I deduce that the thumbs-downers have either never heard her or perhaps need hearing aids………
Or at least, you’ve never heard anything like it unless you’re old enough to remember when voices of that size (and much better in the low register) were not so rare.
I know, I know – we’re supposed to grade on a curve, and say that whatever is the best currently available is “the best.” If only it were true.
Well here is a collective reply to all you largely anonymous keyboard warriors ( some people call anonymous commenters trolls!) .
First up a confession ,in the rush to get a quick first comment in I admit the odd error my fuller reviews in the Edinburgh Music Review will of course be corrected hopefully of all errors.Yes I am aware of the difference between the French and the Italian version I’ve seen them both over the years and yes I do know the difference between Ebola and Eboli!
To the one person that was there on the first night Jeremy H ( too shy to use your full name?) who found Davidsen weak and LOUD I say don’t just disagree with me look at the Bachtrack review by Mark Pullinger which largely agrees with my judgement and is a much longer more detailed review. As for the rest of you who weren’t there I advise you to go and make your own judgement there are still tickets available for the rest of the run and come back and comment when you have.
As for the inappropriately named Player who thinks I know nothing if he reads the Edinburgh Music Review he will see that I don’t claim to be a professional, but a lover of Opera who has more than 50 years of experience of opera houses round the world including hearing Lise Davidsen a number of times that’s why I believe she is perhaps the finest soprano around at present as does Mark Pullinger in Bachtrack.Other reviews coming in the Telegraph and The Arts Desk back up my judgement so go and make up your own mind after you have seen and heard Lise Davidsen you might even enjoy it!
Hugh I would also refer the person who found Lisa weak AND loud (a rather curious combination) to Neil Fisher’s review in the Times.
Callas never sang the role (although I believe ROH did court her for Eboli after the end of her career). To compare the voices of Relyea and Christoff is bizarre too. I saw this production new in London (with Villazon, a superb Carlo) and cinema streamed from New York – cardboard low rent set, dreary lighting and lacking any sense of drama.
She did on record I listened to her when writing the article and I have to tell you Davidsen compared very well. Why is it bizarre to compare Relyea and Christoff I have heard them both sing the aria and again Relyea did very well on the first night which you weren’t at!
Comparing a disc of Callas with a live performance of Davidsen… Wow, what a critic! As wonderful Davidson is singing Wagner and Strauss, in Verdi and Puccini she lacks the style, the depth, the italienitá and all the pianissimi/pianissimos. One cannot perform Verdi or Puccini by literally shouting everything!!!
You can get away with this by singing Wagner, but a steely, linear and monotonous sound is not something suitable for Italian operas. The only quality of Davidsen’s voice (for Wagner, not for Verdi) is its volume. PS: I was at the opening night
Pity all the critics disagree with you and they were there too!
Art, music, opera is subjective, always has been, always will be, but facts remain facts. You wrote a review of Lise Davidsen singing Elisabetta in Don Carlo while listening to Callas singing Elisabetta. Then you were “smart” enough to let everyone know about it.
Because I was challenged over the comparison with Callas Peter and yes it was smart to listen and compare ! I agree with you that music is subjective but I note that all the critics agree with me about Davidson’s performance whereas as the keyboard warriors above most of whom have never been to this production disagree now who would you believe?!
It’s loud at times but also very beautiful. She sang the Marschallin at the Met this past season and I can state confidently that there was plenty of subtletly. Having said that, I do agree that her real sweet spot is Strauss/Wagner rather than Verdi. Riccardo Muti could probably give her a few pointers on style..
“italianità” – just sayin’!
callas did sing elisabetta for the series of don carlos that opened the 1952/3 season at la scala – her colleagues, with the exception of stignani’s eboli/a were underwhelming – ortica, mascherini and rossi=lemeni; she never sang the part again; the eboli in the giulini/visconti don carlo at cg was barbieri; brouwenstijn was the elisabetta
I believe Mme. Callas never actually sang (read “cancelled”) the earlier seasons of Don Carlo at La Scala. She only portrayed Elisabetta during the ’54 season and then ever again live.
Callas sang the role at Teatro La Scala in 1954. Ebe Stignani was Eboli.
Agree. Rylea is a serviceable voice. To compare him to Christoff is risible.
On the criteria of my critics above you clearly fail Jimbo since you misspell Relyea ! The fact that you weren’t there doesn’t help you either!
Hang on… you’re the critic who called one of the characters ‘Ebola’ and you’re telling other people off for their spelling mistakes?
Agree on this production. Not Hytner’s finest and I know he knows it. It’s been revived due to cost.
There is a black and white recording of Callas singing the famous aria in the last act……I think it came from a concert she gave in Germany in the 1960s
God, the reviews of this amateur critic are being flogged more than Alex Perreira’s company credit cards!
No knives here. Her Marschallin at The Met this year was stunning. The best I’ve heard there since Crespin.
The best I’ve heard since Fleming, and I am jealous you heard Crespin. You have been going longer than I. But you’re right about Davidsen, an absolutely incredible singer.
Sarebbe la nuova Callas?
Ma scherziamo?
Non ero presente alla prima del Covent Garden e non ho mai udito la Callas dal vivo, ma bastano i live in rete di ambedue per constatare che c’è un universo tra loro due.
Error after error. JK did not sing the last night of Fidelio, it was David Butt Phillip. How did the first night last five hours; tonight it was the expected 4 hours 20 mins. John Relyea was great but it is nonsense to talk about him in the same breath as Boris Christoff. Christoff had the benefit of the Visconti production which should never have been replaced. Jagde tonight was unremittingly forte for too much of the performance, as was Davidsen for too long. When we reached the last act, Tu che le vanita was sung with varied volume and greater colour; less volume gave greater singing. Posa was the standout along with Relyea. Oh for the days when we had the likes of Christoff, Vickers, Gobbi, Verrett, Bumbry, Jones, Ghiaurov, Cossotto et al
Well Siegfried my Wagnerian friend you clearly were at the second night not the first night so can you compare?! For example the first night started at 5.30 pm and finished at 10.30 pm so that’s make 5 hours in my book. I was there the last night Kaufmann sung Fidelio at the Garden David Butt Phillips sung it the night it was filmed and he wasn’t bad but not a patch on Kaufmann, again I was there were you?!
On Relyea v Christoff I didn’t claim Relyea was as good as Christoff but he brought back memories because he sung it very well. On Davidsen you can have your opinion I note that mine is backed by all the critics and they like me , and unlike you were there on the first night!
Letzte Vorstellung der Premierenserie 2020 oder letzte Vorstellung, in der Jonas Kaufmann gesungen hat ( wenn ich mich recht erinnere, waren es zwei)? Die letzen Vorstellungen hat David Butt Philip gesungen (ich war auch von der Umbesetzung betroffen).
For all the keyboard critics of Lise Davidsen above (most of whom weren’t there !) read Barry Millington’s excellent review in the Evening Standard where he describes her performance as legendary. This is backed by reviews in the Times the Telegraph the Guardian et al.
Even a stopped clock is right twice a day, Hughie… But anyway, these are professional critics, not lifestyle accompanists?
Well my anonymous Player I think the fact that all the critics agree with me is more than coincidence it is critical judgement which they and I make.Yes true I don’t claim to be a musician but I have been attending operas round the world for over 50 years and have written for Opera Magazine the Guardian the Scotsman the Herald and been reviewing consistently for the past 6 years for the Wee Review and the Edinburgh Music Review.When I was an MEP I helped to frame music policy for the European Parliament.I think this makes me a little more informed than “ a stopped clock” don’t you?!
Hugh don’t bother with these people. You know of what you speak. I’ve heard Davidsen, she is superb. There seem to be a bunch of thumbs downers who don’t like her. So what.