Kaufmann talks about Don Carlo in English Part2

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2009年09月19日

カテゴリ：カテゴリ未分類

Jonas Kaufmann and Semyon Bychkov talked on a radio show hosted by Sean Raffety
14 Sep 2009
Broadcasted on BBC radio3 In Tunes

Part2

Q: From Act 4 of Don Carlo conflicted emotions and the orchester of La Scala di Milan instinct Semyon Bychcov you haven't recorded yet but confuse everyone 2 versions of Don Carlo, 4 act and 5 act and the Italian version and the French version?

SB: Yes, Legendary of course the opera was comissioned written for the L'Opera de Paris, and it was conceived French language, so today fortunately, often enough one in counters this French version performed. the later on he also added Italian one for the benefit of the Italian theatres. There is no right or wrong there. They're all regiment(?) regidment once all from Verdi reacted circumstances his theatres in the performing practise as it existed, uh it could be a matter of taste or French, vice versa, but only preferences that I have there is in fact 5 act version would be with Fontainebleau scene in which is what we have in this production Covent Garden because this 5 minutes genuine happiness instead of being told how beauty it once was, if we don't have the scene. get to live it together with those character before perceiving to the dark territory.

Q: Absolutely. We know what has been lost. We know the potential that makes the drama even more tense.

It's very demanding role for you as Don Carlo isn't it?

JK: uh- Yes I mean it always all we see is the very positive things if you have something is not extremely easy to archieve, so I don't see as , Yeah it's demanding, but gives you also the possibility to discover the new strength or new ability you haven't have before and I think every time you have the step to another opera where you sing, this is really tricky, you end up being even more strong than before.

JK: I wouldn't say, I have to say, it's for me very difficult to decide which is the better language to sing, they have both there, ups and downs there, very positive size and the other hand -- I don't know it depends on composer, obviously since Verdi even though he was livin' in Paris as an Italian, hmmmm- it's an Italian opera so I think in the end it sounds more Verdi when it's sung in Italian fortunately, I would say so, but maybe he himself also made cut for, originatedly with a ballet in the middle, and which they cut

Q: French had a ballet,

JK: Yeah exactly (burst into laughing) That was only for the king's delight. and unfortunately, there was supposed to be an aria for the tenor in the end 5th act, he had to tenor who could archieve to sing another aria in 5th act so he decided not to do, he gave it to Elizabetta instead so we tenors won an aria short (giggling) in Don Carlo!

Q: Maybe one day Semyon, you might do radical rewriting, give it back to the tenor?

SB: Haha- I don't think so.

Q: You don't think so? No?

SB: No

Q: Not even --ness?

SB: one thing I don't think I could ever presume or improve Verdi

Q: What do you do to -- it's first Covent Garden season, it's been busy singing, different place, do you have rejume(?)regime like a major role like this?

JK: um hmm-- not really I mean it's always singin interesting something new comes up and maybe you can make up to your mind for know exactly what is gonna be I think very important not going to the rehearsal and see how you can get (laughing) I think it's not good recipe (?) to start the new part. but in this case I again I have sung Carlo there is only Fontainebleau act missing as I mentioned before , it makes it really really much easier on so far Don Carlo because you see you do the 4 act vesion - open , all you see from the very beginning is deeply depressed suffering lament? lamoiyan? for tenor who's complaining g he fell in love with his mother so it's not easy to get the sympathy from audience out of that but having seen the joy fun and free and happiness in first act only for short time you understand what this is all about so that's why very much looking forward doing this 5 act version finally and I think it really makes sense maybe I would say I only wanna do it again in another 5 act version not in 4 act again.

SB: Yes, the final Duet between Elizabetta and Don Carlo is one of those moments where everything is behind them in this life and yet everything is head of them the next one and there is the certain for the first time since Fontainebleau scene there is this harmony that exist between them. 'cause it comes from practically the touchment from this life. and we feel it in a music and the end of the performance finally it's sort of float above us. It's extraordinary feeling. is this complete piece before final tragedy, their life would be taken, it is the moment that I was always waiting for, because it is it can only come when it does it cannot come earlier, it's etumilation(?) and final release everything was relieved for piece in hours

Elizabetta's aria
Tu che la vanita conoscesti del mondo
in French version
Claudio Abbado and Katia Ricciarelli
The orchester La Scala di Milan
(38:34)

End of the show

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