Verdi: Don Carlos
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Top Customer Reviews
Domingo sings wonderfully with a true conviction, despite the fact that he sounds better in his Italian recording of the opera with Cabbale and Giulini in 1971. Ricciarelli is surely no Cabbale, but she does a quite nice work although sometimes she cannot carry out some high notes.
Nucci gives an adequate performance, but is a matter of taste, you either like him or dislike him from the start.
Raimondi is superb as the tormented King, though I would prefer Ghiaurov in the role instead of the role of the Inquisitor. Maybe these two should have exchanged parts. Ghiaurov's voice is huge and ringing and he had enough experience with the role of the King. Well, Raimondi is very good none the matter.
Finally, Valentini-Terrani gives us a magnificent Eboli, though her "Veil song" could be sung (and has been sung) better by other performers.
But on the whole, this IS a definitive Don Carlos and a must have for all Verdi's collectoros!!
Habits do indeed die hard.
I love any version of Don Carlo(s) and enjoy the more blood and guts results of having it sung in Italian, it IS different, but in French it is magnificently beautiful as well as powerful. Not that the great recordings of the Italian versions aren't beautiful (Giulini, Haitink, Solti) but they aren't, well, uh... in French. There is a suavity to the music that is more apparent in its original language than there is in Italian. I can't explain it, sorry.
Abbado has cast his characters carefully to suit the French language and its softer edges than the more spiky Italian. His Eboli is the obsidian-chocolate-velvety voiced Lucia Valentini Terrani. Compare this mezzo to the fire-eater, Agnes Baltsa, who, for Karajan in the 4 act Italian version, is all erupting Vesuvius whereas Terrani is a subtle, intelligent, sensitive woman who is still capable of roaring but not quite like the masonry crackers like Baltsa and Obraztsova.
I love Baltsa for Karajan but I adore Terrani for Abbado. What a beautiful voice she had. Her untimely death from leukemia in her 50s prime deprived us of much great singing from her still to come I have no doubt. She didn't record as much as Marilyn Horne who took most of the great Rossini roles to the studios. Terrani's singing was ultra-feminine which didn't measure up to the trouser roles when compared to the masculine-sounding Horne.Read more ›
This recording follows the (superior?) 5-act revised version in French, and so presents the French original of the Italian translation recorded by, e.g., Giulini, Solti, Haitink and Levine. The major changes since the orginal version have been recorded as appendices at the end of disc 4.
For an interesting modern alternative of the Italian translation in good sound, I recommend Haitink - beautifully conducted and recorded, good voices, and Hvorostovski as Posa has to be heard to be believed.
Plácido Domingo as Don Carlos is superb in this production. His arias "Je l`ai vue" and "O bien perdu, trésor sans prix" have a great beauty. His duetto with Isabelle de Valois (Katia Ricciarelli)in the fifth act: "Au revoir dans un monde" got almost me to weep. The love between Don Carlos and Isabelle was already impossible and the thought about that could have happened, but the destiny didn`t want is the gist of this masterwork.
Katia Ricciarelli as the Princess Isabelle de Valois was outstanding, too. Her voice is tender. Her aria "Toi, qui sus le néant" in the fifth act is superb. Her powerful voice is charming.
Lucia Valentini Terrani as the Princess of Eboli represents her role of a jealous woman very well. The "Chanson du voile" is a good proof of her talent.
Ruggero Raimondi as Philipp II of Spain is great. When I heard his first intervention "Pour quoi seule, madame?", I feel my body to shake because of his powerful voice. I almost imagined that I was listening to the voice of a great King. By this way you could imagine that you are face to face with Philipp II of Spain. His aria "Elle ne m`aime pas" about the refuse that Isabelle de Valois had against him is very human.Read more ›
Most Recent Customer Reviews
I'm not going to debate the merits or shortcomings of this recording, you can read the other reviews for that. Read morePublished on March 18, 2014 by John R. Jaeger
Truly, this original French version of "Don Carlos" is a virtually complete 'recording', with extras in the 4th CD for alternative (original) scenes and excerpts for one... Read morePublished on July 29, 2012 by A. F. S. Mui
Giulini here is less brilliant than in earlier efforts, but these days someone like him is missed. Domingo was young and elegant at that time, his voice showing already the good... Read morePublished on May 21, 2010 by Pietro Zanette
Herbert von Karajan had never recorded the complete 5-Act version of Verdi's Don Carlo. His 1958 Salzburg recording was great in many respects, but it was in mono, and the worst... Read morePublished on November 1, 2009 by Abert
Entre la fin des années 60 et le début des années 2000 Deutsche Grammophon et Plácido Domingo ont fait une véritable OPA sur Verdi. Read morePublished on August 29, 2007 by Constantin Declercq
At the time of its release and continuing to the present, critics have carpted at this, the first big-label recording of Don Carlos, as the French version of Verdi's masterpiece is... Read morePublished on February 8, 2007 by Santa Fe Listener
why this is best Don Carlos version on the market....Claudio AbbadoPublished on July 11, 2006 by D. J. Marconi
Personally I prefer this set to the more famous one with Alagna and Mattila. The reasons are Placido Domingo who sings the most complex and endearing Don Carlos since the young... Read morePublished on December 18, 2005 by Helen Loycker