Vienna.(International)(Don Carlos)(Opera Review)

Peter Konwitschny offers Regietheater at its best in Vienna State Opera's Don Carlos (seen October 18), billed as the world premiere of Verdi's original version, which restores cuts made before the opera's 1867 Paris debut.

With one exception, the opera, totally absorbing throughout its five-hour duration, is played in empty boxes (black for Fontainebleau, white for Madrid), focusing attention on character development and interaction. Konwitschny miraculously illuminates every word of text, making the characters so flesh-and-blood that watching their failures at love becomes painful. Elisabeth and Carlos begin as impetuous, love-struck teenagers. When Carlos reveals his nationality, he dances a goofy little fandango. There is no confusion over the mysterious monk's identity: clearly Charles V, he slyly flashes his crown to the audience. Rodrigue and Carlos's duet is so obviously full of love, the men run their hands over each other's faces and hair. Carlos is completely unhinged at seeing Elisabeth married, hurling himself to the floor and clutching her leg. Philippe sings his aria as Eboli tosses in his bed, an ordinary man telling his mistress about his loveless marriage. Trapped in the room when the blind Inquisitor arrives, Eboli witnesses the confrontation that calls for Carlos's death, thus justifying her appearance in the jail scene. While cursing her beauty, Eboli grabs a shard from the frame that held Carlos's photo and disfigures her face. As he dies, Rodrigue gives Carlos his diary detailing Philippe's crimes, then expires entwined around his friend. At the opera's climax, Charles V slaps Philippe and ushers Carlos and Elisabeth into a different dimension, away from lies and ...