A Thrilling Triumph: Kirill Serebrennikov’s Don Carlo

Vienna State Opera [ENA] Giuseppe Verdi’s Don Carlo is a monumental work, combining political intrigue, personal turmoil, and religious oppression into one of the most profound operas of the 19th century. The production at the Wiener Staatsoper, with direction, stage, and costumes by Kirill Serebrennikov, and featuring the luminous Asmik Grigorian as Elisabetta, is nothing short of a triumph.

This performance brought Verdi’s powerful score to life with staggering emotional depth, visual innovation, and a stellar cast led by Grigorian, whose portrayal of the tormented Queen Elisabetta was unforgettable. From the moment the curtain rises, it becomes clear that Serebrennikov has crafted a vision of Don Carlo that transcends traditional interpretations. His approach blends timeless grandeur with modern sensibilities, making the opera’s core themes of love, duty, and rebellion feel more urgent than ever.

This Don Carlo does not merely retell a story from centuries past but thrusts its audience into the moral and political dilemmas of its characters, exploring their psychological depths in a way that is both intellectually stimulating and emotionally devastating. Asmik Grigorian's Elisabetta was, without a doubt, the centerpiece of the evening. Grigorian, one of the most sought-after sopranos of our time, brought a singular intensity to the role, fusing technical mastery with remarkable emotional insight. Her Elisabetta was not just a queen trapped by circumstance but a woman in profound emotional pain, caught between her duty to the state and her personal desires.

From her first appearance, Grigorian exuded regal authority, yet beneath this exterior was a woman struggling to maintain her composure in the face of unbearable loss. Her voice, crystalline and powerful, conveyed Elisabetta's inner conflict with heart-wrenching clarity. In the aria "Tu che le vanità," Grigorian’s portrayal was nothing short of transcendent. Her interpretation of the role’s climactic moment—a mixture of longing, regret, and resignation—was delivered with such raw emotion that it left the audience in stunned silence. The beauty of her tone, combined with her ability to shift from delicate vulnerability to towering strength, made this one of the most powerful renditions of Elisabetta I have ever witnessed.

Grigorian’s chemistry with Joshua Guerrero’s Don Carlo was palpable. Their first duet, when they are still in love before being torn apart by the politics of the court, was filled with youthful passion and tenderness. As the opera progressed, the tension between the two characters became unbearable, culminating in their final scene together, where Grigorian’s Elisabetta stood as a symbol of unattainable love and lost dreams. Her Elisabetta was not merely a victim but a character of profound complexity, torn between her roles as queen and woman.

Kirill Serebrennikov’s direction is nothing short of revolutionary. His Don Carlo pushes the boundaries of traditional opera staging, creating a visually arresting, psychologically intricate production that resonates deeply with modern audiences. Serebrennikov is known for his provocative and politically charged work, and here, he brings that same intensity to Verdi’s opera, infusing it with an atmosphere of claustrophobic tension, where characters are constantly under surveillance, weighed down by the immense power structures around them.

Don Carlo, played with youthful fervor by Joshua Guerrero, was dressed in dark, somber attire that mirrored his increasingly tortured state of mind. His costume evolved throughout the performance, becoming more disheveled and worn as his political and personal struggles deepened. The use of subtle costume changes helped to track his journey from hopeful prince to tragic hero. Rodrigo, the Marquis of Posa, performed by Étienne Dupuis, was clad in more structured, military-like attire, symbolizing his idealism and his commitment to political reform. However, as the opera progressed and Posa’s fate became sealed, even his costume seemed to crumble under the weight of the oppressive regime he fought against.

Guerrero brought a vulnerability to Don Carlo that made his internal struggle deeply moving, particularly in his scenes with Rodrigo, where their political ideals and personal friendship clashed. Étienne Dupuis as Rodrigo, the Marquis of Posa, was a revelation. His rich baritone voice conveyed both strength and warmth, and his portrayal of Posa’s idealism was deeply affecting. The famous friendship duet between Don Carlo and Posa was one of the emotional highlights of the evening, with both singers delivering performances filled with conviction and sincerity.

The stage, designed by Serebrennikov himself, was a marvel of minimalist grandeur. He created a world of oppressive vastness, where the characters seem dwarfed by the cold, towering walls of power. The set’s stark, monochromatic palette—dominated by steel grays and blacks—underscored the opera’s themes of isolation, repression, and the stifling power of the state. This minimalist aesthetic allowed the performers, particularly Grigorian, to shine in their emotional expressions, with the emptiness around them mirroring the desolation within their hearts.

In contrast to the cold severity of the stage design, Serebrennikov’s use of lighting was masterful. Shadows played a significant role, casting long, ominous lines across the stage, highlighting the characters’ psychological isolation. The contrast between light and darkness became a visual metaphor for the internal struggles of Don Carlo, Elisabetta, and Posa, whose lives are torn between ideals of freedom and the brutal reality of oppression.

Serebrennikov’s boldest move was in his reinterpretation of the role of the church and the Inquisition. The Grand Inquisitor, played with terrifying authority by Dmitry Ulyanov, was not just a figure of religious power but a symbol of totalitarianism. His presence loomed large, not only through his physical form but through the surveillance devices that populated the stage, reminding the characters—and the audience—that no action, no matter how personal, is free from the watchful eye of the state.

The costumes, also designed by Serebrennikov, were equally striking. He chose a palette of muted tones—blacks, whites, grays—that reflected the characters’ entrapment in the rigid structures of power. Elisabetta’s gowns, while regal, were deliberately understated, emphasizing her status as a queen who has sacrificed her personal happiness for her role. The simplicity of her costumes highlighted Grigorian’s performance, allowing her vocal and emotional intensity to take center stage.

The Grand Inquisitor, draped in an imposing, severe black robe, was the embodiment of absolute power. His costume, devoid of any ornamentation, reflected the stark, unyielding nature of his authority. Ulyanov’s portrayal of the Inquisitor was chilling, his deep, resonant bass voice adding to the terror he inspired. While Asmik Grigorian’s Elisabetta was the highlight of the evening, the rest of the cast delivered equally impressive performances. Joshua Guerrero’s Don Carlo was a dynamic blend of youthful passion and tragic naiveté. His voice, bright and full of energy, contrasted beautifully with the darker tones of the other characters, particularly Rodrigo and King Philip.

Roberto Tagliavini’s portrayal of King Philip was masterful. His bass voice, dark and commanding, conveyed the king’s immense power, but also his profound loneliness and insecurity. In his aria "Ella giammai m'amò," Tagliavini delivered one of the most poignant moments of the evening, revealing the king’s deep despair over his loveless marriage and his growing isolation from those around him. Dmitry Ulyanov as the Grand Inquisitor was nothing short of terrifying. His booming voice and imposing presence filled the stage with an aura of menace. The scene between the Inquisitor and King Philip was particularly powerful, as Ulyanov’s Inquisitor effortlessly dominated the king, underscoring the terrifying reach of religious authority.

Under the baton of Philippe Jordan, the Wiener Staatsoper orchestra gave a superb performance of Verdi’s complex and demanding score. Jordan’s interpretation was meticulous, bringing out the lush beauty of Verdi’s melodies while maintaining the dramatic tension that runs through the opera. The balance between the orchestra and the singers was impeccable, allowing the vocal performances to shine without being overwhelmed by the powerful orchestration. The orchestra excelled in conveying the shifting moods of the opera—from the grandeur of the court scenes to the intimate, emotional duets between the characters.

Joshua Guerrero, in the demanding title role of Don Carlo, displayed an impressive emotional range. His portrayal was imbued with a visceral vulnerability, perfectly capturing Carlo's internal struggles with love, loyalty, and power. Guerrero's voice soared through the Staatsoper, particularly in the more introspective moments, where he brought a lyrical warmth and intensity to his arias. His relentless dedication to the role was evident as he pushed his vocal and dramatic limits to bring a nuanced and heartfelt Carlo to life, which resonated strongly with the audience.

Kirill Serebrennikov’s Don Carlo at the Wiener Staatsoper is a triumph of contemporary opera direction. His bold vision, combined with the extraordinary performances of Asmik Grigorian and the stellar cast, made this production an unforgettable experience. Serebrennikov’s ability to blend the grandeur of Verdi’s masterpiece with a modern, psychologically complex interpretation ensures that this Don Carlo will resonate with audiences long after the final curtain falls. Grigorian’s Elisabetta, in particular, stands as one of the defining portrayals of the role, a performance of extraordinary emotional power and technical brilliance. This production reminds us that great art has the power not only to entertain but to challenge and provoke.

The recent Don Carlo production at the Wiener Staatsoper featured an exceptional lineup of vocal talent, each performer adding their unique artistry to Giuseppe Verdi's powerful work. The performance was marked by musical and dramatic excellence, despite the divisive staging by Kirill Serebrennikov, whose conceptual direction left some audience members perplexed. Nonetheless, the singers delivered unforgettable interpretations of their characters, elevating the evening into an artistic triumph.

As Philipp II, Roberto Tagliavini was a revelation. His rich, resonant bass was filled with gravitas, perfectly suited for the authoritative and tormented king. Tagliavini’s performance of Ella giammai m'amò was one of the evening’s highlights, delivering an emotionally charged rendition that conveyed the loneliness and sorrow of the monarch. His portrayal combined both a regal sternness and a tragic vulnerability, making his performance deeply moving.

Étienne Dupuis as Rodrigo, Marquis von Posa, was a standout. Dupuis brought a striking energy to the role, portraying Rodrigo as a modern-day activist, committed to his ideals of freedom and justice. His bright baritone had a thrilling edge, particularly in the duet Dio, che nell'alma infondere with Guerrero’s Carlo, which highlighted the powerful bond of friendship between the two characters. Dupuis’ commanding stage presence and vocal dexterity left a lasting impression on the audience.

In the role of the Grand Inquisitor, Dmitry Ulyanov was formidable. His voice boomed with authority, embodying the terrifying, unwavering power of the church. Ulyanov's bass carried a chilling weight, and his scenes with Tagliavini’s Philipp II were gripping, as the two singers masterfully conveyed the tension between temporal and spiritual authority. His portrayal, defined by sheer vocal power, was awe-inspiring and brought a palpable sense of menace to the production.

The synergy between the singers and the orchestra, under the precise and passionate baton of Philippe Jordan, further enhanced the evening. Jordan’s direction allowed the music to breathe, balancing the dramatic crescendos with tender moments of quiet reflection. The Wiener Staatsoper Orchestra excelled, providing an intricate, dynamic accompaniment that supported the singers without overwhelming them. Jordan’s nuanced approach ensured that Verdi’s score remained central, even when the production’s staging veered into more abstract territory.