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Perfectly matched by Lee, the pair delivers a brilliant rendition of the friendship duet “Dio, che nell’alma infondere.” Hvorostovsky’s scene with Furlanetto at the end of act two, as Posa cultivates the King’s confidence, displays the intensity and spark that are hallmarks of his work. In supremely fine voice, Dmitri Hvorostovsky runs the gamut as Rodrigo, Marquis of Posa, moving from loving friend to scheming ally, to courageous soldier, to fearful mortal. The subsequent duet with James Morris, as The Grand Inquisitor, doubles the thrill with a pair of basses singing together. Such is his level of control, the booming bass voice flows out powerfully with little sign of effort from Furlanetto. After the heightened activity of act three, Furlanetto’s performance of “Ella giammai m’amò” is a masterclass in quiet introspection. Italian bass Ferruccio Furlanetto is well established in the role of tormented King of Spain, Philip II. Wherever possible, Nézet-Séguin enjoys bringing out the playful sequences of the music. Sweet playing from the strings contrasts nicely with the occasional booming effects required from the brass. Maestro Yannick Nézet-Séguin leads the Metropolitan Opera Orchestra in a pristine performance of the score. Knighten Smith tempers the energy of the surging crowd scenes with the quiet stillness of the interplay between lead characters. The climactic reveal of the burning heretics behind the giant cloth showing Christ’s passion is a particular highlight in the lighting effects. Lighting designer Mark Henderson keeps the actors clearly seen but using plenty of shadow for added menace. From there, designer Bob Crowley using a dramatic palette of blacks, reds and gold. The striking effect begins with a stark white winter forest, where a hunting party in gorgeous midnight blue is seen. Coupled with the wonderfully romantic sound he produces, this is a voice to treasure.įor this co-production (shared with Royal Opera and Norwegian Opera and Ballet), Nicholas Hytner has the ingenious concept of using lavish, detailed period costumes against clean, post-modern, stylised interpretations of the settings. A key strength of Lee’s tenor is the even tone between mid-range and high notes he soars up and down his register with no change of vocal style.

Visibly relaxed after the successful beginning, Lee beams with confidence throughout, and the stage energy noticeably lifts in his every scene. On stage alone to open the show, Lee absolutely nails Carlos’ big aria “Io la vidi.” The crowd roars their approval, and the tone is set for a glorious night of music. Rising tenor Yonghoon Lee looks set to take the next step to fame after an electrifying performance in the title role. Five superb lead singers distinguish Met Opera’s revival of the 2010 co-production of Verdi’s epic drama Don Carlo.