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Verdi: Don Carlo (Metropolitan Opera) Live

3.9 out of 5 stars 14 customer reviews

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Audio CD, Live, August 16, 2011
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Editorial Reviews

One of Verdi's most intriguing masterpieces, this performance distinctly captures the opera's unique, tragic grandeur. Franco Corelli sings the title role, and the cast includes Leonie Rysanek, Irene Dalis, Nicolae Herlea, Giorgio Tozzi and Hermann Uhde. Kurt Adler conducts the Met's orchestra and chorus in the opera's four-act version. 2 CD's taken from the March 7, 1964 broadcast.

Track Listings

Disc: 1

  1. Act I: Carlo il sommo Imperatore - Justino Diaz
  2. Io l'ho perduta! - Franco Corelli
  3. Io la vidi e il suo sorriso - Justino Diaz
  4. È lui! Desso! l'Infante! - Nicolae Herlea
  5. Dio, che nell'alma infondere - Nicolae Herlea
  6. Sotto ai folti, immensi abeti - Marcia Baldwin
  7. Nei giardian del bello - Marcia Baldwin
  8. La Regina! - Che mai si fa nel suol francese - Nicolae Herlea
  9. Carlo ch'è sol il nostro amore - Nicolae Herlea
  10. Io vengo a domandar grazia alla mia Regina - Perchè, perchè accusar - Leonie Rysanek
  11. Perduto ben, mio sol tesor - Leonie Rysanek
  12. Il Re! - Perchè sola è la Regina? - Marcia Baldwin
  13. Non pianger, mia compagna - Nicolae Herlea
  14. Restate! - O signor, di Fiandra arrivo - Nicolae Herlea
  15. Quest'è la pace che voi date al mondo? - Nicolae Herlea
  16. Osò lo sguardo tuo penetrar - Nicolae Herlea
  17. Act II: Preludio - Kurt Adler
  18. A mezzo notte, ai giardin della Regina - Nicolae Herlea
  19. Al mio furor sfuggite invano - Nicolae Herlea
  20. Ed io che tremava al suo aspetto! - Nicolae Herlea
  21. Spuntato ecco il dì d'esultanza - Metropolitan Opera Chorus
  22. Schiusa or sia la porta del tempio! - Robert Nagy

Disc: 2

  1. Nel posar sul mio capo la corona - Nicolae Herlea
  2. Sire! Egli è tempo ch'io viva - Nicolae Herlea
  3. Spuntato è il dì d'esultanza - Volate verso il ciel - Junetta Jones
  4. Act III: Introduzione - Kurt Adler
  5. Ella giammai m'amò - Giorgio Tozzi
  6. Il Grand'Inquisitor! - Hermann Uhde
  7. Nell'ispano suol mai l'eresia dominò - Hermann Uhde
  8. Giustizia, giustizia, Sire! - Nicolae Herlea
  9. Ah! Sii maledetto, sospetto fatale - Nicolae Herlea
  10. Pietà! Pietà! Perdon! - Leonie Rysanek
  11. O don fatale - Irene Dalis
  12. Son io, mio Carlo. - Nicolae Herlea
  13. Per me giunto è il dì supremo - Nicolae Herlea
  14. Che parli tu di morte? - Nicolae Herlea
  15. O Carlo, ascolta ... Io morrò, ma lieto in core - Nicolae Herlea
  16. Mio Carlo, a te la spada io rendo - Irene Dalis
  17. Act IV: Introduzione - Kurt Adler
  18. Tu che le vanità - Leonie Rysanek
  19. Franica, nobile suol - Leonie Rysanek
  20. È dessa! - Vago sogno m'arrise! - Leonie Rysanek
  21. Sì, per sempre! - Leonie Rysanek


Product Details

  • Performer: The Metropolitan Opera Chorus, Franco Corelli, Leonie Rysanek, Irene Dalis, Nicolae Herlea, et al.
  • Orchestra: The Metropolitan Opera Orchestra
  • Conductor: Kurt Adler
  • Composer: Giuseppe Verdi
  • Audio CD (August 16, 2011)
  • SPARS Code: ADD
  • Number of Discs: 2
  • Format: Live
  • Label: Sony Classical
  • Run Time: 156 minutes
  • ASIN: B00579EL18
  • Average Customer Review: 3.9 out of 5 stars  See all reviews (14 customer reviews)
  • Amazon Best Sellers Rank: #83,446 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

By Ralph Moore TOP 500 REVIEWER on August 26, 2011
Format: Audio CD
Even allowing for the cuts so often made during this era at the Metropolitan Opera, this is one of the swiftest of the live four Act versions and the sound is really very good for a mono radio broadcast; consequently it gives you a compelling sense of the excitement of the occasion under the experienced baton of Kurt Adler, who had conducted a similarly distinguished cast in this opera in 1955. The cuts - the whole of the Fontainebleau Act, of course, this being the four Act version, plus excisions in the Third Act auto-da fé and the final sublime duet - are all the more regrettable considering that Corelli never made a studio recording of "Don Carlo" but we must be grateful for what we have. It was a favourite opera that saw him through the seventies until he had virtually retired; he clearly identified with the haunted, neurotic Carlos.

The cast features five Met stalwarts in Corelli, Leonie Rysanek, Irene Dalis, Giorgio Tozzi and Hermann Uhde, whereas Posa was distinguished Romanian baritone Herlea's debut role at the Met. Many consider this to be the best of the available live performances of Corelli as Don Carlo, although the 1970 Vienna recording also has much to recommend it in that it has a superlative cast and gives little sign of Corelli's supposed vocal deterioration by this date. Here in 1964, the famous bronze squillo in the tone and the expressive diminuendo are both much in evidence, as is Corelli's artistic licence - which some call sloppiness - and his pronounced lisp, which on the evidence of the duet from"Aida" he made around the same time with Callas seemed particularly pronounced that year. There is an awkward pause just before the Flemish deputies issue their plea to Philip when Corelli missed his cue, then they carry on.
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Format: Audio CD
Corelli's pale '70s recordings of the title role (1970 and 1972 in Vienna and at the Met respectively), where he sounds embarrassingly overparted, can in no way compare with this magnificent 1964 Carlo from the Met. Rysanek's Elisabetta is rather matronly, but she's in glorious voice. Dalis - known to us mainly from her Bayreuth Kundry - is a sympathetic Eboli (rightly flirtatious in the Veil Song and unbearably regretful in 'O don fatale'). Uhde (Grand Inquisitor) - another Wagnerian - matches Tozzi (Filippo) note for note: the latter tends to declaim (rather than sing) some of his lines (including 'Ella giammai m'amo'), but it's still a moving characterization. The little-known Herlea sings Posa: not as graceful as (say) Bastianini's, a trifle wobbly and loud but not entirely forgettable. The Monk is sung by the young Diaz (one wishes that he and Herlea had reversed roles). The recording's sound quality is acceptable: good soloist-chorus-orchestra balance. But the cuts are annoying, given the fact that Adler used an almost complete text at the same house nine years earlier (Tucker, Steber, Thebom, Bastianini, and Hines). If you don't have a Corelli CARLO, get this one and ignore his '70s recordings; however, if for any reason (eg Janowitz's Elisabetta or Talvela's Inquisitor) you can't resist the Vienna performance (sonically superior to this one), make sure you don't even touch his 1972 Met CARLO issued on Living Stage (a shameful release, poorly recorded and sung).
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Format: Audio CD
Sony has been so generous to produce so many Metropolitan Opera broadcasts from the past.
In this economic climate, not to mention the decline of CD sales for downloading and internet piracy, this is another welcome addition to the series
Some listeners may claim this is not the first time on CD but that hardly matters. Sony is major.
Don Carlo is my favorite Verdi from this period..It is so rich in melody and invention. It rarely goes astray considering it's length.
The characters I find clearly defined, focused and filled with passion.
Don Carlo deserves the best singers available (and budget) not always easy to pull together.
This recording offers up some of the strongest voices of 1964 especially the men.
Franco Corelli is simply at his vocal best..he practically walks off with this performance.
I can't say enough about the opulence of his voice. It was golden. The rest of this strong cast works almost as well.
Nicolea Herlea certainly keeps Corelli on his toes. What a beautiful Rodrigo he was. His Met career seemed so short.
Giorgio Tozzi is Philip ll..excellently sung if too melodramatic for some..The grand inquisitor scene (Hermann Uhde) could have been stronger.
Irene Dalis another singer you can count on to deliver with passion and stage presence. Her voice wasn't always on target but her performance here is an exciting one.
Now I come to one of my very favorite sopranos of all time Leonie Rysanek. I could never have enough of her. In this case, however,I do not find the role of Elisabeth to sit in the best part of her voice.
I appreciate the performance but sometimes the crooning sounds a little excessive...Then there is the top of her voice and the volume of sound which is always breathtaking.
The conductor Kurt Adler was a Met favorite...I'll take Kurt Adler and Fausto Cleva anytime.
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Musically and artistically, this performance is great. It may have its drawbacks, for instance, The Great Inquisitor is certainly not the best part for Hermann Uhde, who was one of the best Wagnerian baritones. Rysanek may be slightly off the peak of her glory... Such details, however, are easily outweighed by the overall greatness of this interpretation of Don Carlo. Not everybody may like it, of cause. It is very stern, very dark and how to but it, explicitly non-Italianite (with Elisabetta sung by one of the best Sieglindes of the century and Eboli by a splendid Kundry). A friend of mine who happened to drop in when I was listening to the CD even asked me what was the Wagnerian opera I was listening to =) But the recording is great, both singing and performance. As to Corelli, it is possibly his greatest Carlo, as one of the reviewers has already pointed out.

I give it 4 stars and not 5 because of terrible cuts. I will never forgive the frustration of the moment I realized that my favourite moment of the final duet was missing... Strangely enough, Adler had already conducted a fuller version of Don Carlo, and it was recorded live in 1955. If you like Adler's style you really should consider that recording, it is brilliant.
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