Verdi

Don Carlo

Craig, Jones, Cossotto, Bacquier, Hines; De Fabritiis
Buenos Aires, 1967

Regular price $26.95
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Don Carlo

Gwyneth Jones delivers a truly remarkable performance as Elisabetta, showcasing the promise of her Wagnerian potential while still in her early 30s. What stands out is not only her power, but the subtlety with which she navigates delicate pianissimi and employs bel canto phrasing.

Fiorenza Cossotto, also emerging as a dominant figure in the operatic world, makes her mark with a rich, powerful mezzo that spans all parts of her range. Her top notes have a secure brilliance that would be the envy of many sopranos, and her performance is a testament to her mastery of the Verdi repertoire.

Gabriel Bacquier brings a noble yet understated depth to Rodrigo, while Jerome Hines imbues Filippo with both beauty and gravity.

However, Charles Craig, as Don Carlo, though competent, is somewhat overshadowed by the strength of his colleagues. While his performance lacks any glaring faults, he doesn’t quite match the level of intensity brought by the rest of the cast.

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3.5 Based on 2 reviews
5 ★ 1
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David R.✓ Top Reviewer

United States

Overall rating

Exciting Performance, Pitch is Correct!

This broadcast from the Teatro Colon has been circulating for awhile. Decades ago it was published on Myto and has probably been on other labels too.All the soloists are in top shape, singing their hearts out for the loving, sometimes finicky Buenos Aires audience. There is an element of healthy competitiveness in the surroundings and they all outdo themselves. I've praised Jones' Elisabetta many times on this site and she lives up to her reputation as a fine Verdi singer here. Cossotto has the audience on her side from the beginning with her dramatic singing. Her "O don fatale" brings the house down as does Jerome Hines' "Ella giammai m'amo", another audience favorite. Bacquier does well as Rodrigo though the role lies high for him. I liked Craig very much. He does a lot more with the role than others do. Wildermann proves again that he was an underrated singer with his implacable Grand Inquisitor. De Fabritiis takes most of the standard cuts, but plays the Prison Scene complete (Eboli does not reappear though) and making only a very brief cut in the final duet between Carlo and Elisabetta.With all respect to Sam below, I listened with a pitch pipe and every scene was at the correct pitch. The radio sound is very good.All Verdians should have this performance in their collections.
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Sam

United States

Overall rating

DON CARLO, Buenos Aires 1967 is SHARP!

This is at least a semi-tone sharp (1/2 step)! Can it be repaired before you offer it for sale? Thank you.
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