This release captures a performance of the Verdi opera Don Carlo recorded at the Theatre Antique d'Orange in Orange, France on July 13, 1984. The cast of the performance includes Montserrat Caballé, Giacamo Aragall, Simon Estes, Grace Bumbry, and Renato Bruson.
Levine realizes the nobility and inner intensity of Verdi's broad concept. On this occasion there's little to cavil at in his speeds and his attention to detail, as for instance the mournful string figure that underpins Eboli's confession in Act 4 and the reflective accompaniment to the Queen's recollections of happier times at Fontainebleau in her Act 5 aria, is as discerning as ever.
Teatro Regio’s 2013 revival of their highly successful 2006 production of Verdi’s Don Carlo celebrates the 40th anniversary of the theatre’s reopening in 1973. With traditional staging and lavish costume design, the production garnered high acclaim in the national and international press, with GB Opera commending the ‘sumptuous’ setting and French online music magazine ResMusica praising director Hugo de Ana’s decision to revive the show ‘in all its splendour’. Shown here in the four-act version, Don Carlo is the fascinating tale of father-son power struggles, adultery and love that borders on incest. The cast – under the powerful baton of Gianandrea Noseda – is headed by renowned Mexican tenor Ramón Vargas, and also features Ludovic Tézier, who has been hailed as ‘one of the best Verdian singers of our time’ (ResMusica).
Those who know Zeffirelli's style won't be surprised by the conventionally lavish production, but it effectively evokes the atmosphere of religious oppression and personal antagonisms Verdi so unerringly depicts. The dark-hued, threatening setting fits Muti's energetic, rhythmically vital conception. He quickens the emotions in a peculiarly Italianate way, and throughout evinces a feeling for the colouring of the score. His reading is in turn a good background for some thoughtful and idiomatic singing.
Milano, teatro alla Scala, “Don Carlo” di Giuseppe Verdi L’INFANZIA, PARADISO PERDUTO Don Carlo debutta a Parigi nel 1867, cinque atti in francese, opera mai divenuta “popolare” per le oggettive difficoltà legate alla sua produzione, essendo monumentale nella durata, nella partitura e nell’allestimento, poiché richiede masse artistiche poderose e una compagnia di canto vasta e di eccezionale livello per i sei ruoli, principali e principeschi. Don Carlo è un insuperato punto di arrivo nell’evoluzione del linguaggio verdiano, un unicum che non trova corrispettivo in nessun altro lavoro, non in Aida (quasi coeva), la cui partitura è influenzata da stilemi wagneriani ed i cui protagonisti sono compattamente granitici come le statue dei faraoni, mentre presentano una varietà di sfumature psicologiche i protagonisti di Don Carlo, il cui libretto, tratto da Friedrich Schiller, è tra i migliori mai avuti a disposizione da Verdi… FRANCESCO RAPACCIONI
Don Carlo is here presented in the full 5 Act Italian version and this performance is under the inspired direction of Carlo Maria Giulini who had celebrated the 'new' Covent Garden centenary with this opera in 1958. The cast then was different, but the Royal Opera Orchestra and Chorus remain, and they're on cracking form.
Verdi's Don Carlo is a problematic piece. Should it be in Italian or French? How much of the original French musical setting should be included? I've known this set for a while and have some reservations about the singing, that of the women in particular, but it's the inclusion of the whole of Verdi's original First Act which makes the set worth acquiring.