Don Carlo, opera: Act 1, 1: Introduzione - Coro di cacciatori: Su, cacciator! pronti o la belva
Don Carlo, opera: Act 1, 2: Scena e romanza: Fontainebleau! Foresta immensa e solitaria!
Don Carlo, opera: Act 1, 2: Scena e romanza: lo la vidi e al suo sorriso
Don Carlo, opera: Act 1, 3: Scene e duetto: Il suon del corno alfin nel bosco tace
Don Carlo, opera: Act 1, 3: Scene e duetto: Al mio pie', perch??
Don Carlo, opera: Act 1, 3: Scene e duetto: Di quale amor, di quanto ardor
Don Carlo, opera: Act 1, 3: Scene e duetto: Al fedel ch'ora viene, o signora
Don Carlo, opera: Act 1, 3: Scene e duetto: L'ora fatale ? suonata!
Don Carlo, opera: Act 1, 4: Coro, scena e finale primo: Inni di festa lieti echeggiate
Don Carlo, opera: Act 1, 4: Coro, scena e finale primo: Il glorioso Re di Francia
Don Carlo, opera: Act 1, 4: Coro, scena e finale primo: Vi benedica, Iddio dal ciel!
Don Carlo, opera: Act 2, Scene 1, 1: Preludio, introduzione, scena del frate e duetto: Preludio
Don Carlo, opera: Act 2, Scene 1, 1: Preludio, introduzione, scena del frate e duetto: Carlo il sommo Imperatore
Don Carlo, opera: Act 2, Scene 1, 1: Preludio, introduzione, scena del frate e duetto: Al chiostro di San Giusto
Don Carlo, opera: Act 2, Scene 1, 1: Preludio, introduzione, scena del frate e duetto: ? lui! desso! I'lnfante!
Don Carlo, opera: Act 2, Scene 1, 1: Preludio, introduzione, scena del frate e duetto: Questo arcano dal Re non fu so
Don Carlo, opera: Act 2, Scene 1, 1: Preludio, introduzione, scena del frate e duetto: Dio, che nell'alma infondere a
Don Carlo, opera: Act 2, Scene 2, 2: Coro e scena: Sotto ai folti, immensi abeti
Don Carlo, opera: Act 2, Scene 2, 2: Coro e scena: Tra queste mura pie la Regina di Spagna
Don Carlo, opera: Act 2, Scene 2, 2: Coro e scena: Nei giardin del bello saracin ostello
Don Carlo, opera: Act 2, Scene 2, 3: Scena, terzetto et dialogato: La Regina!... Un' arcana mestizia
Don Carlo, opera: Act 2, Scene 2, 3: Scena, terzetto et dialogato: Che mai si fa nel suol francese
Don Carlo, opera: Act 2, Scene 2, 3: Scena, terzetto et dialogato: Carlo, ch'? sol il nostro amore
Don Carlo, opera: Act 2, Scene 2, 4: Gran scena e duetto: lo vengo a domandar
Don Carlo, opera: Act 2, Scene 2, 4: Gran scena e duetto: Perduto ben, mio sol tesor
Don Carlo, opera: Act 2, Scene 2, 4: Gran scena e duetto: Oh! Carlo! Oh! Carlo!
Track Listings (20) - Disc #2
Don Carlo, opera: Act 2, Scene 2, 5: Scena e romanza: 2: Re!...Perch? sola ? la Regina?
Don Carlo, opera: Act 2, Scene 2, 5: Scena e romanza: Non pianger, mia compagna
Don Carlo, opera: Act 2, Scene 2, 6: Scena e duetto: Restate! Al mio regal cospetto
Don Carlo, opera: Act 2, Scene 2, 6: Scena e duetto: O Signor, di Fiandra arrivo
Don Carlo, opera: Act 2, Scene 2, 6: Scena e duetto: Quest'? la pace che voi date al mondo?
Don Carlo, opera: Act 2, Scene 2, 6: Scena e duetto: Os? lo sguardo tuo penetrar il mio soglio
Don Carlo, opera: Act 3, Scene 1, 7: Preludio: Preludio
Don Carlo, opera: Act 3, Scene 1, 8: Scena, duetto e terzetto: A mezzanotte, ai giardin della Regina
Don Carlo, opera: Act 3, Scene 1, 8: Scena, duetto e terzetto: Ciel! Non ? la Regina!
Don Carlo, opera: Act 3, Scene 1, 8: Scena, duetto e terzetto: Che disse mai?
Don Carlo, opera: Act 3, Scene 1, 8: Scena, duetto e terzetto: Al mio furor, sfuggite invano
Don Carlo, opera: Act 3, Scene 1, 8: Scena, duetto e terzetto: Ed io, che tremava al suo aspetto!
Don Carlo, opera: Act 3, Scene 1, 8: Scena, duetto e terzetto: Carlo! se mai su te fogli importanti serbi
Don Carlo, opera: Act 3, Scene 2, 9: Gran finale: Spuntato ecco il d? d'esultanza
Don Carlo, opera: Act 3, Scene 2, 9: Gran finale: Il corteggio reale
Don Carlo, opera: Act 3, Scene 2, 9: Gran finale: Schiusa or sia la porta del tempio!
Don Carlo, opera: Act 3, Scene 2, 9: Gran finale: Nel posar sul mio capo la corona
Don Carlo, opera: Act 3, Scene 2, 9: Gran finale: A Dio voi foste infidi, infidi al vostro Re
Don Carlo, opera: Sire! egli ? tempo ch'io viva!
Don Carlo, opera: Act 3, Scene 2, 9: Gran finale: O ciel! Tu! Rodrigo!
Track Listings (25) - Disc #3
Don Carlo, opera: Act 4, Scene 1, 10: Introduzione e scena: Introduzione
Don Carlo, opera: Act 4, Scene 1, 10: Introduzione e scena: Ella giammai m'am?!
Don Carlo, opera: Act 4, Scene 1, 10: Introduzione e scena: Dormir? sol nel manto mio regal
Don Carlo, opera: Act 4, Scene1, 11: Scena: Il Grand'inquisitor!
Don Carlo, opera: Act 4, Scene1, 11: Scena: Nell'ispano suol mai l'eresia domin?
Don Carlo, opera: Act 4, Scene1, 11: Scena: Mio parde, che tra noi la pace alberghi ancor
Don Carlo, opera: Act 4, Scene 1, 12: Scena e quartetto: Giustizia, giustizia, Sire!
Don Carlo, opera: Act 4, Scene 1, 12: Scena e quartetto: Ardita troppo voi favellate!
Don Carlo, opera: Act 4, Scene 1, 12: Scena e quartetto: Ah! sii maledetto, sospetto fatale
Don Carlo, opera: Act 4, Scene 1, 13: Scena ed aria: Piet?! Piet?! perdon!
Don Carlo, opera: Act 4, Scene 1, 13: Scena ed aria: Ah! pi? non vedr? la Regina! O don fatale, o don crudel
Don Carlo, opera: Act 4, Scene 2, 14: Morte di Rodrigo e sommossa: Son io, mio Carlo
Don Carlo, opera: Act 4, Scene 2, 14: Morte di Rodrigo e sommossa: Per me giunto ? il d? supremo
Don Carlo, opera: Act 4, Scene 2, 14: Morte di Rodrigo e sommossa: Che parli tu di morte?
Don Carlo, opera: Act 4, Scene 2, 14: Morte di Rodrigo e sommossa: O Carlo, ascolta, la madre t'aspetta
Don Carlo, opera: Act 4, Scene 2, 14: Morte di Rodrigo e sommossa: Ah! io morr?, ma lieto in core
Don Carlo, opera: Act 4, Scene 2, 14: Morte di Rodrigo e sommossa: Mio Carlo, a te la spada io rendo
Don Carlo, opera: Act 5, 15: Scena ed aria: Introduzione
Don Carlo, opera: Act 5, 15: Scena ed aria: Tu che le vanit?
Don Carlo, opera: Act 5, 15: Scena ed aria: Carlo qui verr?! S?!
Don Carlo, opera: Act 5, 15: Scena ed aria: Tu che le vanit?
Don Carlo, opera: Act 5, Scena, duetto d'addio e finale: ? dessa!... Un detto, un sol
Don Carlo, opera: Act 5, Scena, duetto d'addio e finale: Vago sogno m'arrise!
Don Carlo, opera: Ma lass? ci vedremo
Don Carlo, opera: Act 5, Scena, duetto d'addio e finale: S?, per sempre!
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 ... more »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« less
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
DAVID BRYSON | Glossop Derbyshire England | 08/26/2005
(5 out of 5 stars)
"Opera in sound alone can never be the full monty, just as Shakespeare on the radio can't be. The grander the Grand Opera the more true this is, and Don Carlo is bigger in scope even than Aida. It is about a lot more than the story of a love-triangle set against a background of armies, slaves, pyramids and elephants: there are four parties to the love-interest alone, the role of Posa is nearly as important as any of them, and the action takes in the fate of the royal house of Spain, the imperial dominion in Flanders and the overweening power of the Spanish Inquisition. It cries out for staging. However in sound alone the Grand Inquisitor without his garb will have difficulty in being more than a disembodied bass voice given that his is a rather small part, and however dramatically kings, princes, princesses and nobles sing and act with their voices I can't help finding myself more concerned with them as sopranos, tenors, baritones and basses than as the dramatis personae they would be for me in the opera house.
When recommending a Don Carlo on disc I therefore focus mainly on the musical side. In any case there is no possible risk that if this music is sung properly it will come across as a concert - Verdi sees to that. He was a dramatist to the marrow of his bones, and the listener at home has only to follow the words in order to be caught up in the grand sombre tragedy that Verdi has burned into music. The best performance on disc, for me, will be the performance that most consistently conveys both power and beauty, because this opera is about tormented human emotions at the mercy of ruthless political power in addition to their own tragic fallibility. None of that needs any staging when conveyed in music like this. It would be a tall order to expect any performance of this outsize opera to be perfect. It is not a perfect work itself, on any showing. Even by Verdi's standards it went through an enormous amount of rethinking and revision, and it has surely the most peculiar and unconvincing conclusion there can ever have been in a work of its stature. A worthy performance has to convey total and absolute belief and commitment, but the focus has to be on beauty as well, more than would be so in the opera house, because sound is all we have.
One doesn't have to get far into the first act to realise that this Don Carlo is going to score quite exceptionally highly in point of beauty. Domingo is in superb voice, and Caballe surpasses herself. As the work goes on I suppose it might be fair to say that her lower register is not the equal of her higher, but this is Verdi and not Wagner. Wagner pitches his solo parts reasonably so as not to put strain on the voices, Verdi exploits the upper range of every voice except the bass with remorseless partiality, and Caballe rises to his monstrous demands magnificently. Eboli is a mezzo role, but the challenge Verrett has to overcome is hardly less in that respect, and her confession of the theft of the jewel-box is perhaps the final solo gem in a performance that is a jewel-box itself. Not everyone is absolutely right - the Grand Inquisitor's voice is too youthful, but I have very little criticism indeed to make of any of the major roles. Raimondi as the king seems perfectly good to me, and Milnes delivers a fine rendering of the part of Posa, combining power and inwardness, sometimes at one and the same time. If there is a high spot to the entire performance it is surely the quartet in act IV, a sublime outpouring of beautiful sound from all the principals together.
In the last analysis this Don Carlo surpasses any other I have ever heard for its combination of sheer beauty with wholehearted power. Giulini was born to conduct it, and I doubt I have a single criticism of anything he does from start to finish. The recording is now 35 years old, but you might not be able to tell. Now only weeks from Giulini's passing I am especially glad to be able to give such an unqualified endorsement to what I believe to be one of his finest achievements, indeed one of the finest opera recordings I know. It's only to be expected that there are details that one prefers in other accounts, but for sheer consistent quality at the highest level I would say your search can safely end here."
Guilini's masterwork of conducting!
D. J. Edwards | Cheshire, CT United States | 09/15/2001
(5 out of 5 stars)
"This is Giulini's recording from beginning to end. Few have been able to handle this sprawling masterful scoring with such finesse and ensemble. Coming in at over three hours, this score is awesomely demanding but at the same time contains some of Verdi's most glorious music. Its arias are well known from concerts. It is the ensembles and choruses that are so amazing particularly the auto-da-fe scene. For me there is no wasted music or fill-ins which I cannot say for all of verdi's operas. I think this is one of his most masterful works. However, it is not Giuini's show alone. Caballe, Domingo and Milnes are exemplary and Caballe does some of the most beautiful singing to be heard in all of Verdi's recorded operas. Only does Milanov in the RCA Aida equal this beauty but that is personal taste. This said Caballe is a vocal miracle. Her aria and the duet in Act V are sung with ravishing beauty. Domingo is in ringing tone and MIlnes more suave than usually and both rich of timber as usual. All true Verdi voices. Raimondi and Foiani fall a little short. Ramondi because his voce does not have the power of a Christoff or Ghiaurov who owned these roles in their prime. Raimondo does have beauty of tone. Foiani was having a bad "hair" Day. Phoning in would have been no worse. Enough said. Talvela has had no equal in this short but pivotal role. He is absolutely frightening in the London set. Speaking of that London set Ghiaurov is beyond praise, Bergonzi beautiful of tone and Tebaldi right after Caballe a great Elisabetta. For is its overall superb quality, Giulini's "Don Carlo" a "must have" and for me not all verdi is a must have. The sound is also quite spectacular."
A CAST ASSEMBLED IN HEAVEN
Shawn Chua | Singapore | 06/01/2001
(4 out of 5 stars)
"This benchmark recording has already earned all the accolades extolled by critics and laymen alike possible, and this one more wouldn't hurt and wouldn't tip the balance.Giulini is undoubtedly the driving force behind this fantastic recreation and realisation of one of Verdi's greatest operas. The cast of characters are no less worthy of acclaim. No expense was spared in organsing and arranging for this magnificent heaven-sent cast to come together in this union.Don Carlo was originally written in French and was in five acts. Several other versions appeared, including translations into Italian and what is presented here is the original five act opera, in Italian translation. Some may gripe that the original flow of Verdi's intentions were lost in the translation, but being as idiomatic as it is, Italian doesn't jar on the ear and makes an acceptable alternative, and is in fact, the more popular version of the opera.Domingo's Carlos, as compared to his later recording in French for DG, is young-sounding. His darker tone in the later recording may bring forth the character's passion and intensity, but it is this recording in which Domingo made his mark. He sings well, his voice capable of encompassing the tumultous emotions running amok with his character.Shirley Verrett as Eboli is truly stunning. She charms and seduces with the Veil Song, her voice taking on a languid and sanguine tone. She however, strings it along well, her husky voice purring away like an engine. It is the test-aria, O don fatale, in which she pulls out the stops. She invests totally into the character, physically and mentally. The perilous stretches and reaches of the role's tessitura are no hurdle for her. Her voice takes on a harsh and relentless quality as she pleads for forgiveness. Her chest notes are remarkable for their depth and intensity. No less respectable are the high notes which she hits effortlessly and spot-on.Raimondi as Filippo is a tortured soul in torment. His gravelly voice may not be as dark as preferable, but it is convincing. His anguish and pain is clearly felt. Milnes' Rodrigo is executed without any major hitch as well. His duets with Domingo are well-sung, with the voices blending. The supporting cast is also deserving of their bouquets.The star of the show must be Montserrat Caballe. As Elisabetta, she may be less than involved and immersed, but her singing is top-notch and of the highest standard. Her voice is perfectly suited for this regal role. Lush, plush and rich, her singing more than makes up for her character development. As demanding as the test-aria in the final act is, Caballe aces it by her reading. Her tone, full and concentrated, she builds up the aria from scratch and imbues in the role an intensity unmatched and a delicacy unheard of. She ends the aria by stringing the last phrase together in a long-held pianissimi straight from the heavens.A pity is that she did not "misbehave" in this recording. She has been known on two other occasions, to end the opera with a literal bang. She emits a blood curdling scream to bring out the opera and where most other sopranos would let the orchestral chords do their part, she has sucessfully held on to her scream, closing the scene, the act and the opera in tandem with the ochrestra. This would have meant at least a 20 second hold of a top note at maximum volume!Giulini leads the Royal Opera House Orchestra in a taut and incisive performance. The lower strings are notably poignant.This is the benchmark and reference recording and it is justly so. Get it or regret it!"
Not flawless, but definitely the best on disc
cdsullivan@massed.net | Cambridge, MA USA | 02/20/2001
(5 out of 5 stars)
"This recording of "Don Carlo," arguably Verdi's greatest opera, uses the 1886, five-act version, which is the correct one to use. If the four-act version (which omits the Fontainebleau scene) is used, then we lose half an hour of great music as well as a musical theme ("Di quali amor") that is used as a leitmotif later on in the opera. In addition to using the correct edition of the score, this 1971 recording has a cast unmatched on disc in terms of both voice and characterization, and has a truly great conductor, Carlo Maria Giulini, presiding over all. Giulini turns in a sensitive, finely detailed reading of this richly rewarding score. Unlike Karajan, he conducts everything as written and lets the music speak for itself. He allows the music time to unfold (I especially like his relatively slow tempo for "Tu che le vanità"), and has a masterly overview of the score. This is one of his finest recordings. His cast is especially notable for the two Spaniards, Plácido Domingo and Montserrat Caballé. Domingo, then just thirty, turns in a glorious performance of one of Verdi's most demanding tenor roles, with a warm, velvety voice perfectly comfortable even in the high reaches of the part. He has an excellent interpretation of this role and (gasp!) he also sings softly. Caballé, the greatest modern Verdi soprano, is in her absolute prime here, with her pure, silvery, gorgeous instrument, climaxing in a gloriously lyrical account of her big Act Five aria, alone worth both the five star rating and the price of the set. Ruggero Raimondi's voice is too baritonal for Philip, but he sings beautifully and intelligently and with absolute purity and security in the middle and bottom of his range, if not much volume. Shirley Verrett turns in an excellent, beautifully sung Eboli, even if she doesn't possess the full fiery temperament Cossotto, for instance, brought to the role, and Sherrill Milnes is at the very peak of his form as a magnificently sung Rodrigo. The Grand Inquisitor, Giovanni Foiani, is not dark and steady enough for this role, but he still sings memorably and resonantly. Thanks to him, Raimondi and most of all to Giulini, the crucial confrontation with the king is rivetingly intense and memorable. Simon Estes is ideal as the monk. Excellent work from the orchestra and chorus.This recording's main rival is the 1965 Solti/Decca performance, out of print in the United States but available basically everywhere else. That recording's strengths are the two basses, Nicolai Ghiaurov as a glorious Philip and Martti Talvela as a completely intimidating but gorgeously sung Inquisitor, and it also has a radiant Renata Tebaldi as Elisabetta. Bergonzi and Bumbry as Carlo and Eboli are good, though definitely not on the level of their colleagues on that recording or their correspondents on this, but Fischer-Dieskau is hopelessly miscast as Rodrigo, and Solti's direction is not perfect. If a highlights CD of the Solti comes out which includes the Ghiaurov/Talvela scene, grab it. But the EMI recording, newly reissued as a "Great Recording of the Century," is definitely my first recommendation, thanks essentially to Domingo, Caballé and Giulini."
A masterpiece of conducting
Bogdan Iliescu | Houston, TX USA | 07/11/2004
(5 out of 5 stars)
"For me Don Carlo is Verdi's masterpiece. You find here a very good libretto which makes a lot of sense (compared to Il Trovatore for example) that has a very natural balance of human drama, powerful characters with veridic evolutions and above all some of the best music Verdi composed. It is flawless, and supports with depth and detail the characters and the conflicts without weak moments or loss of "concentration".The vocal parts aren't as demanding as others in any register. Yet, the length and the profound impact that the orchestra has in this opera and the complex turns and situations the opera encompasses make me believe that a succesful Don Carlo is first of all a problem of conducting. And I think that this is why everybody turns to this recordnig when they have to name the best recording of Don Carlo.For any of the vocals here you can find someone better. I personally prefer Corelli over all the others, including Domingo which here is in a very good shape and delivers a very involved and careful rendition of Don Carlo. Martti Talvela is indeed unsurpassed in the role of Grande Inquisitor, but Estes here does a very fine job. Ghiaurov's Filip is indeed overwhelming and I love him as much as the others do. But I have to say that I found Raimondi to be a revelation. Maybe his voice is a little lighter but the sensibility and expresivity Raimondi is capable of, deliver a very refreshing and rewarding contribution to this key role. Milnes is also very good. The first Don Carlo I heard had Bastianini singing Posa. Both him and Gobbi are more rewarding in terms of tone and interpretation. But Milnes comes really close and he makes a very convincing case especially in the duos with Domingo or King Filip (a real miscast was Dietrich Fischer-Dieskau, in Solti's recording). The ladies are as god as those on other recordings if not better. I really enjoy what Caballe does in the role of Elisabeta and Verrett is a very capable pair.
In conclusion the roles in this recording are handled extremely well and I can't help thinking that the star singers of some of these roles (mentioned above) were sacrificed for the unity of the cast, a good performing team.So, in the end, everything comes to conducting. And here I think this recording is unsurpassed. The extraordinary sense of tempo that works wonders elsewhere is displayed here by Giulini in full power. And such, the opera unwraps in front of you with a "life-like" quality. Nothing is exagerated for the sake of a particular temporary effect. But when the development of the drama asks for it power and intensity are there to deliver the goods. As usual with Giulini the orchestra is so dedicated to its conductor and you can hear inner voices inside the orchestra that you won't hear anywhere else. The characters, entirely supported by the orchestra, evolve naturally in the same right atmosphere with flawless inner logic. It is the only recording of Don Carlo which has a sense of unity and of a "single piece". To wrap up things imagine this: you listen to a performance wich always tells you where you are and how did you get there, you follow the evolution of both characters and intrigue without any bumpss or missed points, you hear very beautiful voices in distinguished performances supported by a very beautifully sounding and highly expressive orchestra. There is no wonder that you come back to this recording when somebody asks you which one is the best recording of Verdi's Don Carlo."