Search - Giuseppe Verdi, Bernard Haitink, Olga Borodina :: Verdi - Don Carlo / Gorchakova · Borodina · Hvorostovsky · Scandiuzzi · Margison · Lloyd · Norberg-Schulz · Haitink

A Good Recording of Verdi's Classic

James Walters | Seattle, Washington | 08/05/1999

(4 out of 5 stars)

"I really enjoy this recording. I purchased it after having heard Gorchakova in various other Verdi roles. I have since been pleased with her performance of Elizabeth, although it is not perfect. She seems to have problems with clear diction. And while some of that is expected with someone with such a large voice, she sometimes takes it to and extreme. It does get annoying once and a while. She also takes her time getting to the pitch on some notes, which again some artist do do sometimes. It is particularly bad during her aria " Tu che le vanita " but her voice is so large and beatiful one can allow for some inperfections. Margison is also a solid Carlos, my only reservation with him is that is his attack on certain high notes, he seems to hit them instead of letting them soar out. Both Dimitri, and Olga Borodina do a beautifull job and perform their roles extremly well and must be some of the best recorded performances of Eboli and Rodrigo. Another recording to consider is that with Aprile Millo, and Zajick. On that recording the women are wonderful it's the men who are shakey at times. I really don't like the Domingo/Caballe version because I just don't think that Caballe has a large enough voice for Elizabeth. My all time favorite recording of this opera is the Bergonzi/Tebaldi recording for London, it has been on disc but unfortunately is not available at this time, but my library has it, maybe yours does too. But this is probably one of the best recordings AVAILABLE out there."

There is no perfect Don Carlo; this one scores quite near.

Abel | Hong Kong | 05/29/2007

(4 out of 5 stars)

"The opera is so well known: it calls for superb singers. The Don in title role (Spanish Infant), the King (Philip II), the courtier (Marquis Posa), the lady in waiting (Princess Eboli), the Queen (Elisabetta), and the religious fanatic (the Inquisitor), all call for tremendously good singers to muster the roles' demands.

How is the report?

The Don scores some where in the middle. The voice is little bit wobbly, though not significant. The King fares less well, rather unfitting for the crown. The courtier is in great form, forthright and moving, highly lyrical and tragic in the last aria. The Queen is also quite noble, though a bit old. The star of the set, without a doubt, is the Princess Eboli. The Veil Song is so beautifully sung that I would say it is the best on record. Then the last aria of great remorse, sung with such drama and emotion! The timbre of Borodina is very beautiful. It is full bodied and rich, yet highly lyrical. Verrett on the all-time famous Giulini recording did not gain one single inch of ground in the face of Ms. Borodina's fabulous and almost unsurpassed Eboli.

Bernard Haitinck conducted with zeal and passion, and the music could not be bettered under his firm baton.

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