Verdi: Don Carlo

Verdi: Don Carlo

Verdi: Don Carlo
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Composer: Giuseppe Verdi
Conductor: Carlo Maria Giulini
Performer: Plácido Domingo
Performer: Montserrat Caballé
Performer: Ruggero Raimondi
Performer: Sherrill Milnes
Performer: Shirley Verrett
Performer: Giovanni Foiani
Performer: Simon Estes
Performer: Ryland Davies
Edition: Music CD
Format: Original recording remastered
CD Release Date: 2000-08-15
Music Label: EMI Classics
Soundtracks:
Music CD 1
  1. Don Carlo, opera: Act 1, 1: Introduzione - Coro di cacciatori: Su, cacciator! pronti o la belva - G. Verdi
  2. Don Carlo, opera: Act 1, 2: Scena e romanza: Fontainebleau! Foresta immensa e solitaria! - G. Verdi
  3. Don Carlo, opera: Act 1, 2: Scena e romanza: lo la vidi e al suo sorriso - G. Verdi
  4. Don Carlo, opera: Act 1, 3: Scene e duetto: Il suon del corno alfin nel bosco tace - G. Verdi
  5. Don Carlo, opera: Act 1, 3: Scene e duetto: Al mio pie', perché? - G. Verdi
  6. Don Carlo, opera: Act 1, 3: Scene e duetto: Di quale amor, di quanto ardor - G. Verdi
  7. Don Carlo, opera: Act 1, 3: Scene e duetto: Al fedel ch'ora viene, o signora - G. Verdi
  8. Don Carlo, opera: Act 1, 3: Scene e duetto: L'ora fatale è suonata! - G. Verdi
  9. Don Carlo, opera: Act 1, 4: Coro, scena e finale primo: Inni di festa lieti echeggiate - G. Verdi
  10. Don Carlo, opera: Act 1, 4: Coro, scena e finale primo: Il glorioso Re di Francia - G. Verdi
  11. Don Carlo, opera: Act 1, 4: Coro, scena e finale primo: Vi benedica, Iddio dal ciel! - G. Verdi
  12. Don Carlo, opera: Act 2, Scene 1, 1: Preludio, introduzione, scena del frate e duetto: Preludio - G. Verdi
  13. Don Carlo, opera: Act 2, Scene 1, 1: Preludio, introduzione, scena del frate e duetto: Carlo il sommo Imperatore - G. Verdi
  14. Don Carlo, opera: Act 2, Scene 1, 1: Preludio, introduzione, scena del frate e duetto: Al chiostro di San Giusto - G. Verdi
  15. Don Carlo, opera: Act 2, Scene 1, 1: Preludio, introduzione, scena del frate e duetto: Ã? lui! desso! I'lnfante! - G. Verdi
  16. Don Carlo, opera: Act 2, Scene 1, 1: Preludio, introduzione, scena del frate e duetto: Questo arcano dal Re non fu so - G. Verdi
  17. Don Carlo, opera: Act 2, Scene 1, 1: Preludio, introduzione, scena del frate e duetto: Dio, che nell'alma infondere a - G. Verdi
  18. Don Carlo, opera: Act 2, Scene 2, 2: Coro e scena: Sotto ai folti, immensi abeti - G. Verdi
  19. Don Carlo, opera: Act 2, Scene 2, 2: Coro e scena: Tra queste mura pie la Regina di Spagna - G. Verdi
  20. Don Carlo, opera: Act 2, Scene 2, 2: Coro e scena: Nei giardin del bello saracin ostello - G. Verdi
  21. Don Carlo, opera: Act 2, Scene 2, 3: Scena, terzetto et dialogato: La Regina!... Un' arcana mestizia - G. Verdi
  22. Don Carlo, opera: Act 2, Scene 2, 3: Scena, terzetto et dialogato: Che mai si fa nel suol francese - G. Verdi
  23. Don Carlo, opera: Act 2, Scene 2, 3: Scena, terzetto et dialogato: Carlo, ch'è sol il nostro amore - G. Verdi
  24. Don Carlo, opera: Act 2, Scene 2, 4: Gran scena e duetto: lo vengo a domandar - G. Verdi
  25. Don Carlo, opera: Act 2, Scene 2, 4: Gran scena e duetto: Perduto ben, mio sol tesor - G. Verdi
  26. Don Carlo, opera: Act 2, Scene 2, 4: Gran scena e duetto: Oh! Carlo! Oh! Carlo! - G. Verdi
Music CD 2
  1. Don Carlo, opera: Act 2, Scene 2, 5: Scena e romanza: 2: Re!...Perché sola è la Regina? - G. Verdi
  2. Don Carlo, opera: Act 2, Scene 2, 5: Scena e romanza: Non pianger, mia compagna - G. Verdi
  3. Don Carlo, opera: Act 2, Scene 2, 6: Scena e duetto: Restate! Al mio regal cospetto - G. Verdi
  4. Don Carlo, opera: Act 2, Scene 2, 6: Scena e duetto: O Signor, di Fiandra arrivo
  5. Don Carlo, opera: Act 2, Scene 2, 6: Scena e duetto: Quest'è la pace che voi date al mondo?
  6. Don Carlo, opera: Act 2, Scene 2, 6: Scena e duetto: Osò lo sguardo tuo penetrar il mio soglio
  7. Don Carlo, opera: Act 3, Scene 1, 7: Preludio: Preludio
  8. Don Carlo, opera: Act 3, Scene 1, 8: Scena, duetto e terzetto: A mezzanotte, ai giardin della Regina
  9. Don Carlo, opera: Act 3, Scene 1, 8: Scena, duetto e terzetto: Ciel! Non è la Regina!
  10. Don Carlo, opera: Act 3, Scene 1, 8: Scena, duetto e terzetto: Che disse mai?
  11. Don Carlo, opera: Act 3, Scene 1, 8: Scena, duetto e terzetto: Al mio furor, sfuggite invano
  12. Don Carlo, opera: Act 3, Scene 1, 8: Scena, duetto e terzetto: Ed io, che tremava al suo aspetto!
  13. Don Carlo, opera: Act 3, Scene 1, 8: Scena, duetto e terzetto: Carlo! se mai su te fogli importanti serbi
  14. Don Carlo, opera: Act 3, Scene 2, 9: Gran finale: Spuntato ecco il dì d'esultanza
  15. Don Carlo, opera: Act 3, Scene 2, 9: Gran finale: Il corteggio reale
  16. Don Carlo, opera: Act 3, Scene 2, 9: Gran finale: Schiusa or sia la porta del tempio!
  17. Don Carlo, opera: Act 3, Scene 2, 9: Gran finale: Nel posar sul mio capo la corona
  18. Don Carlo, opera: Act 3, Scene 2, 9: Gran finale: A Dio voi foste infidi, infidi al vostro Re
  19. Don Carlo, opera: Sire! egli è tempo ch'io viva!
  20. Don Carlo, opera: Act 3, Scene 2, 9: Gran finale: O ciel! Tu! Rodrigo!
Music CD 3
  1. Don Carlo, opera: Act 4, Scene 1, 10: Introduzione e scena: Introduzione - G. Verdi
  2. Don Carlo, opera: Act 4, Scene 1, 10: Introduzione e scena: Ella giammai m'amò! - G. Verdi
  3. Don Carlo, opera: Act 4, Scene 1, 10: Introduzione e scena: Dormirò sol nel manto mio regal
  4. Don Carlo, opera: Act 4, Scene1, 11: Scena: Il Grand'inquisitor!
  5. Don Carlo, opera: Act 4, Scene1, 11: Scena: Nell'ispano suol mai l'eresia dominò
  6. Don Carlo, opera: Act 4, Scene1, 11: Scena: Mio parde, che tra noi la pace alberghi ancor
  7. Don Carlo, opera: Act 4, Scene 1, 12: Scena e quartetto: Giustizia, giustizia, Sire!
  8. Don Carlo, opera: Act 4, Scene 1, 12: Scena e quartetto: Ardita troppo voi favellate!
  9. Don Carlo, opera: Act 4, Scene 1, 12: Scena e quartetto: Ah! sii maledetto, sospetto fatale
  10. Don Carlo, opera: Act 4, Scene 1, 13: Scena ed aria: Pietà! Pietà! perdon!
  11. Don Carlo, opera: Act 4, Scene 1, 13: Scena ed aria: Ah! più non vedrò la Regina! O don fatale, o don crudel
  12. Don Carlo, opera: Act 4, Scene 2, 14: Morte di Rodrigo e sommossa: Son io, mio Carlo
  13. Don Carlo, opera: Act 4, Scene 2, 14: Morte di Rodrigo e sommossa: Per me giunto è il dì supremo
  14. Don Carlo, opera: Act 4, Scene 2, 14: Morte di Rodrigo e sommossa: Che parli tu di morte?
  15. Don Carlo, opera: Act 4, Scene 2, 14: Morte di Rodrigo e sommossa: O Carlo, ascolta, la madre t'aspetta
  16. Don Carlo, opera: Act 4, Scene 2, 14: Morte di Rodrigo e sommossa: Ah! io morrò, ma lieto in core
  17. Don Carlo, opera: Act 4, Scene 2, 14: Morte di Rodrigo e sommossa: Mio Carlo, a te la spada io rendo
  18. Don Carlo, opera: Act 5, 15: Scena ed aria: Introduzione
  19. Don Carlo, opera: Act 5, 15: Scena ed aria: Tu che le vanità
  20. Don Carlo, opera: Act 5, 15: Scena ed aria: Carlo qui verrà! Sì!
  21. Don Carlo, opera: Act 5, 15: Scena ed aria: Tu che le vanità
  22. Don Carlo, opera: Act 5, Scena, duetto d'addio e finale: Ã? dessa!... Un detto, un sol
  23. Don Carlo, opera: Act 5, Scena, duetto d'addio e finale: Vago sogno m'arrise!
  24. Don Carlo, opera: Ma lassù ci vedremo
  25. Don Carlo, opera: Act 5, Scena, duetto d'addio e finale: Sì, per sempre!

Free Music Notes for Verdi: Don Carlo

Free Music Review: Three five-star "Don Carlos" to choose from -- and Pavarotti
Hit: 5 Stars

I'm among those who rank "Don Carlo" (known in its French version as "Don Carlos") as Vrdi's grandest grand opera and a masterpiece in that genre. It wasn't easy for Verdi to set out a final version, and when he did, arriving at a relatively compressed, tense four acts, he surgically removed some inspired music, particularly the opening scene in the Fontainbleau forest where Don Carlo declares his doomed love for his step-mother, Queen Elisabetta. Collectors can hear almost every note that Verdi discarded on two pirate recordings under Abbado from the 1970's -- the best one is from La Scala, 1977, with Jose Carreras and Mirella Freni in fine form). Otherwise, each conductor in the various studio recordings has made his own selection from the four-act and five-act versions.

A true lover of this opera will want five acts, so for me it comes down to three excellent stereo versions, each of which has its strengths and weaknesses. As every reviewer is fond of repeating, there has never been a perfect "Don Carlo," or for that matter, one that casts two ideal lead singers for Don Carlo and Elisabetta.

Solti (Decca) -- This set from Covent Garden has been esteemed since the day it appeared. We get five acts, but the first, the Fontainbleau scene, has been shorn of the opening woodcutters' chorus. Solti's conducting is strong and idiomatic; he doesn't drive the music at all. His tow leads, Carlo Bergonzi and Renata Tebaldi, are well matched. Bergonzi has a smallish voice but impeccable style. Since Tebaldi was in her late phase, she is rather cautious at times, and matching her with a less than powerful tenor was a discreet choice. both are on the same page in traditional Verdi style. they are the most natural pairing I've heard. The two great bas roles, King Philip and the blind Grand Inquisitor, are superbly done by Nicolai Ghiaurov and Martti Talvela in their prime. Theirs is the most frightening confrontation since Gobbi and Christoff on the old mono set from 1954 (EMI).

As Evoli, Grace Bumbry is well cast. Her naturally feminine delivery is touching, and although she's not as sharp in the demanding coloratura, the lack of hardness in her voice comes as a relief. The Royal Opera orchestra and chorus play beautifully -- as their chief conductor, Solti had them whipped into shape -- although sheer numbers are lacking in the great choral auto da fe scene. Decca's sound is as vivid and clear as anyone would wish. The usual complaint about Solti's set is that Fischer-Dieskau is miscast as Rodgrigo and vocally out of is depth. I am no fan of F-D in Verdi, and there's nothing Italianate about his delivery, but I'd count this his best outing in such roles. He's not right in his death scene, but elsewhere his undoubted artistry counts for a lot.

In all, this remains a strong set, very much worth hearing. The real question here is whether Tebaldi sounds a bit too worn and Bergonzi too cool for the desperate, ardent Carlo.

Giulini (EMI) -- In 1970 Covent Garden produced another outstanding Don Carlo under Giulini. We get five acts but once again with the opening woodcutters' chorus cut out. When you consider how good the Solti was, it's surprising that the Giulini swept the field, but it did, and the initial acclaim has barely subsided. For once EMI's sonics are better than Decca's, being very natural and spacious, especially in the latest remastering for Great Recordings of the Century. Domingo and Caballe are in best youthful voice for the two leads. Sherrill Milnes is vocally an outstanding Rodrigo; better still he reins in his bad habit of oversinging and histrionics. The orchestra and chorus are as good as they were under Solti, and Giulini is even more stylish.

but dare I say it, this is a gloomy production. Domingo needs to be more ardent, and Caballe is droopy and detached. Added to this is Giulini's gravity, which allows for almost no unbridled passion and joy. Don Carlo is a tragic opera, and most of the characters are sad most of the time. Still, I've never grown excited over this famous set. Verrett was an accomplished Eboli, but she verges on the leather-lunged and aggressive. Giulini's slow tempo in the Veil Song rob it of charm. Neither Raimondi's Philip nor Giovanni Foiani's Grand Inquisitor sound old enough or sufficiently menacing.

Overall, one cannot deny the quality of Giulini's recording, which has stood the test of time a shade better than the Solti because of its young voices. but I can't say I've ever been enthusiastic about it.

Levine (Sony) -- At the Met nowadays one gets to hear Andrew Porter's expanded five-act edition that includes as much of Verdi's music as possible. Here Levine restores the woodcutter's chorus, so instead of beginning with hunting horns, the Fontainbleau scene begins with somber peasants foraging for kindling. Yet as gloomy as that sounds, Levine's account is the most exciting and varied of the three versions. He conducts the huge choral scenes with tremendous force and virtuosity -- there's not the slightest doubt that the Met orchestra is miles ahead of the royal Opera. By relieving the tragedy, Levine gives us the most theatrical and least exhausting performance.

His problem in the early Nineties was casting. Aprile Millo was the Met's stand-in for a great Verdi soprano, and here she does some of her best work. As long as she can sing softly and tenderly, Millo holds her own against true divas on the scale of Tebaldi, but she tends to be cautious in the big numbers. 'Tu che le vanita' is a major letdown. But her Carlo, Michael Sylvester, does quite well. His smooth, smallish voice is close to Bergonzi's, and although Sylvester falls down on style, he never embarrasses himself. All of his singing is enjoyable. As Eboli, Dolora Zajick turns in the best performance I've ever heard, sharply defined and tremendously virtuosic throughout.

The rest of the cast is filled out with Met stars of the period. Vladimir Chernov was an acclaimed Verdi baritone for a shockingly brief while, but his Rodrigo stands up with the best. As Philip, Furlanetto has a gorgeous lower register and exudes regal authority. Ramey is an impressive rival to the king as the Grand Inquisitor, and Kathleen Battle is nothing less than divine when her voice floats from on high as the angel at the climax of the auto da fe scene. It's a small moment but quite thrilling.

The Met's production of Don Carlo is so stunning visually that reviewers usually steer buyers to a DVD of it, which boasts Domingo as Carlo. I find the audio set just as thrilling theatrically. Levine goes a long way to making up the deficits of his singing cast.

In the end, there's no clear winner. The strong aspects of one set compensate for weaknesses in the other two. But a word must be put in for Pavarotti, who undertook Carlo as almost his last new role in 1992 for the opening of La Scala. He cracked a high note, and the boos were heard around the world. What was missed is that after his publicized disgrace, which was hardly deserved, the great tenor went on to sing the role magnificently. You can hear him on EMI in that very production, recorded live, under the vigorous Muti. Pavarotti is in miraculously good voice for this late in his career, almost rejuvenated, in fact. His passion and perfect Verdi style outstrip all the tenors on the rival sets, including Domingo. sadly, nothing else about the production comes anywhere near his standard -- the other leads vary between good enough and sorry. But if you want to hear what can be done with a role that is notoriously difficult, Pavarotti is very much worth seeking out.
Write your own review
More free music notes:
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Verdi: Don Carlo Poster

Politics, love, and family conflict make a heady brew in Verdi's masterpiece, originally set to a French text for Paris in 1867. In 1882, the composer made an Italian version with big cuts, lopping off the entire first act, which here is restored by Giulini. His pointed, nuanced conducting makes this recording the best available. An ideal Don Carlo requires the unattainable: five great singers and an expert Verdi conductor. This 1970 set has glorious voices that don't dig deep enough for this multilayered drama. The young Domingo sounds fresh, but lacks the free top that the part needs. Milnes has the voice for Rodrigo but, like Domingo and Caballé, is too generalized. Raimondi is too light-voiced for Philip, and the confrontation scene consequently lacks the chilling tension that Tito Gobbi and Boris Christoff bring to it on an earlier EMI cut led by Gabriele Santini. Rival recordings have bigger flaws and few of the virtues that are displayed here, such as Caballé's extraordinarily beautiful if detached singing. True Verdians also will want Pappano's French version, also on EMI, which features Alagna as the hapless prince. --Dan Davis

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