Of course, the intention was arguably to present the best overall version of the opera, and there’s no doubt that Verdi’s final say on the work, which comes from the 1886 version, is ultimately the sturdiest. Other than a slight alteration in the Act two duet between Carlos and Rodrigue (the original version’s first half is markedly different from the latter iterations we have come to know), the big changes came at the beginning of Eboli’s aria, the “Lacrimosa” after Rodrigue’s death (the music was used for the famed Requiem’s “Lacrimosa” after Verdi cut it out of the opera in later revisions), the Spanish mob, and the final duet between Elisabeth and Carlos.
For lovers of the opera, you had to wait until Act four and five to get a true taste of what the French version offered, and even then it was short-lived. And there was no trial scene at the end either. Additionally, there was no opening prelude or chorus, nor was there any switching of the veils at the beginning of Act three between Eboli and Elisabeth, all staples of the original French version. This was more like the Five-Act Italian version from Modena, with a couple of additions from the earlier French version.įor this production, Rodrigue and King Philippe’s duet came from the Italian version, as did the Quartet in Act four. Would you be blamed for suddenly thinking that this historic event would feature the original 1867 Paris edition or most of it (it’s a very long opera to be sure and cuts would be understood)?Īnd while the company undoubtedly succeeded in presenting the opera in French, it did not follow through on that marketed promise of presenting the “ original” French version or anything resembling it. “For the first time in company history, the Met presents the original five-act French version of Verdi’s epic opera of doomed love among royalty,” says the company’s official page for the opera.
And rightfully, the entire audience stood up and clapped for this display of solidarity.Īnd with that, the performance got underway. The Met has been quite vocal in its support of Ukraine, so it was quite moving to see General Manager Peter Gelb come out at the beginning of the evening and introduce the chorus, who performed the Ukrainian National Anthem. Not only was it the reopening of the 2021-22 season after a month-long hiatus, but it was also the first-ever performance of the French version of Verdi’s “Don Carlos.” But, perhaps most importantly, this performance was the first to take place on the company’s stage since Russian President Vladimir Putin launched a war against Ukraine. 28 turned out to be a big night for the Metropolitan Opera on several fronts.
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