Making her opera-directing debut here she avoids so many of the classic first-time pitfalls simply by placing the score at the centre of her thinking.
A classic revival and a new production, a lavish visual spectacle and a brutalist bit of social realism – Don Carlo and Wozzeck share nothing except a core of violence whose ferocity still shocks.Ĭarrie Cracknell is a natural fit for Berg’s opera – a director with an instinctive grasp of emotional nuance, as the charged restraint of her recent A Doll’s House at the Young Vic so vividly demonstrated. At the Royal Opera House this week Verdi’s Don Carlo – a drama of kings and empire – has hoisted the black flag high, while English National Opera have hustled their audience into crack-dens and council-houses for Berg’s bitter gutter-parable Wozzeck. Tragedy is a great equaliser, uniting opera’s paupers and princes and levelling the class divide in a volley of blood and betrayal.
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