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DON CARLOS
By Giuseppe
Verdi
One of Verdi's finest operas, Don Carlos
was first conceived as a quintessential Grand Opera for the Paris
Opéra in 1867. This original work in French runs over four
hours, and Verdi abridged it considerably for La Scala in 1884,
removing the First Act and composing a brand new revision to the
original French text. La Scala presented this version in Italian. In
1886, for a subsequent revival, Verdi retained most of his new
changes but reinstated the First Act -- still in French.
Unfortunately, there is no really strong recording
of Verdi's epic in its original French.
VIDEO: EMI: Luciano Pavarotti, Daniella Dessi, Laura
d'Intino, Paolo Coni, Samuel Ramey, Muti conducting, La Scala, 1992;
EMI 77779
AUDIO: A) MYTO: Jon Vickers, Gre Brouwenstijn,
Fedora Barbieri, Tito Gobbi, Boris Christoff, Giulini conducting; the
more traditional, Italian version with a few cuts beyond even Verdi's
1884 revision but with Act I restored; in a famed 1958 revival at
Covent Garden, "live"; we hear a superbly inspired tenor protagonist,
Vickers, surrounded by a stellar cast under an alert,
consummate maestro (granted, both Brouwenstijn and Barbieri, who are
more endowed than are their counterparts in B with the needed
voices -- and the apt style -- for their roles, are not heard at
their best here, Barbieri routinely avoiding all excursions above the
staff -- but still!); in fact, Giulini's unequalled contribution is
the capstone of an extraordinary evening in the theatre where every
artist is not just inspired to unusual heights of expressive
revelation in a vacuum, but responds wonderfully to the charge
generated by uniformly kinetic colleagues in every role; the artistic
rapport here within the entire ensemble remains unmatched; this was
as much a Visconti triumph as a Giulini one; it was this revival and
a Met revival seven years earlier that were chiefly responsible for
first alerting 20th-century audiences around the world to the
extraordinary calibre of this important, unjustly neglected, Verdi
work. [G.R.]
B) LYRIC DISTRIBUTION: Jose Carreras, Mirella Freni, Elena
Obratzova, Piero Cappuccilli, Nicolai Ghiaurov, Claudio Abbado
conducting ("live," La Scala, 1977); relatively early ground-breaking
revival of the final 1886 version -- uncut (Act I included) with
additional passages restored from the 1867 original version (ballet
omitted) -- how wonderful to hear the reprise of Carlo's sad Act I
exit at the end of the opera, as in Verdi's original quiet ending;
this rounds out the opera in the same necessary way that the more
familiar ending rounds out the four-act version with its
thundered-out reprise of the Friar's Act II phrases; this ambitious
performance still uses the traditional Italian translation, though;
it also features a glittering all-star cast, all in good vocal form;
caveats: though Freni is in fine vocal control (after some warming up
in Act I) and thoroughly understands the Verdi style, her lovely and
expressive voice, however adroitly managed, is not quite suited to
Queen Elisabetta, and, even though Obratzova (Eboli) has the right
kind of voice and is in representative form, the true Verdi style
eludes her -- she is just too ungainly; nevertheless, Maestro Abbado
has given us a finely welded reading that, for once, makes emotional
and structural sense of every note in Verdi's sprawling canvas; the
restoration of passage after passage only makes Verdi's imposing
score that much more riveting. [G.R.]
C) MELODRAM: Franco Corelli, Raina Kabaivanska, Oralia
Dominguez, Louis Quilico, Nicolai Ghiaurov, Guadagno conducting
("live," 1966); in some respects, an even more intense,
heart-on-sleeve performance than A; featuring the only
protagonist, Corelli, able to give Vickers in A a run for his
money; colleagues are all exciting, though musically variable; don't
look for scrupulous, inspired conducting from Guadagno; what this is
is a corking good show a bit rough around the edges; Guadagno is just
along for the ride; traditional Italian version with a few cuts,
including the omission of all of Act I; recorded from audience
perspective, the sound quality is strictly fair and no more; Mono.
[G.R.]
D) DECCA/LONDON: Carlo Bergonzi, Renata Tebaldi, Grace
Bumbry, Dietrich Fischer-Dieskau, Nicolai Ghiaurov, Solti conducting
(studio recording, c.1965); this recording uses the full 1886
version, sung, though, in the usual Italian; with all the advantages
of stereo hi-fi, this represents the finest interpretation of the
title role ever made in the professional recording studio; Bergonzi's
Don Carlo is the ideal object lesson in how to sing this part, both
because of this interpretation's impeccable style and real beauty of
tone and also because of this recording's superb sound quality which
allows one to appreciate in depth all the rich nuances of this
artist's musicianship; you will not find here quite the dramatic
genius of Vickers nor the bold imagination of Corelli, but the
wonderful sound quality here may make Bergonzi's scrupulous
assumption more inviting than anyone's; unfortunately, none of
Bergonzi's colleagues quite match him, even though Bumbry's Eboli
certainly has its moments; in Fischer-Dieskau's contribution, not
only do we have infelicities in style (of a kind different from
Obratzova's, granted), but an instrument intrinsically unsuited to
the role of Rodrigo in the bargain; Tebaldi does not probe so deeply
as Brouwenstijn or Freni, and Solti's contribution is aptly described
by Peter G. Davis: "clarity without grace, weight without gravity,
and excitement without passion"; Stereo [G.R.]
E) ANGEL: Placido Domingo, Monserrat Caballé,
Shirley Verrett, Sherrill Milnes, Ruggero Raimondi, Giulini
conducting (studio recording, c.1970); a much-praised recording that
has its problems; it uses the traditional Italian version with,
however, Act I retained, as in Giulini's "live" performance of 1958
(i.e., the performance given the A recommendation above) but
with none of the 1958 cuts, thank goodness--that's fine; but,
compared with Vickers, Carreras, Corelli or Bergonzi, Domingo's
interpretation of the title role is a bit detached, and though his
voice, in terms of color and depth, is richer and more powerful than
Carreras's and approximately on a par in terms of amplitude with
Bergonzi's, it is less ample than either Vickers' or
Corelli's--furthermore, Domingo simply does not have the kind of
assured top, so essential in this part, that the others consistently
produce--yes, Domingo may be in reasonably solid mechanical
control of his high--that's different, but it does not carry that
thrill of compelling emotional conviction that the other four
habitually convey when they are in peak form--in fact, Domingo's
merely serviceable top seems somehow emblematic of his curiously
restrained approach throughout; this recording reverses the equation
of the Solti: here we have a strictly functional, though disciplined
and musical, protagonist surrounded by colleagues who surpass him in
vocal rightness, technical ease and dramatic versatility; it is, in
fact, Domingo's colleagues that make this recording worthwhile, and
as for Giulini, his leadership continues to be as impressive as in
A; the whole performance is finely engineered in superb stereo.
[G.R.]
F) DG: Placido Domingo, Katia Ricciarelli, Lucia
Valentini-Terrani, Leo Nucci, Ruggero Raimondi, Abbado conducting;
stereo; Here is the only recording of Verdi's final version made for
Modena (1886) -- the Modena version, the WHOLE Modena version,
and nothing but the Modena version -- and in the
original French; unique for all this, but the performance is
singularly uninspired alongside any of the five listed above.
[G.R.]
For Further
Reading:
The
Operas of Verdi : From Don Carlos to Falstaff (Vol. 3,
Revised), by Julian Budden
Don
Carlos/Don Carlo (Opera Guide, No. 46), by Giuseppe Verdi
Encounters
with Verdi, by Marcello Conati, Richard Stokes, Julian
Budden
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