This recording is fascinating, not only because it features the legendary Rita Hunter as Elisabetta (more on her in a moment), but also for its unique presentation of Don Carlo in English, with the inclusion of several numbers that were cut when Verdi adapted the opera into Italian. Among the restored excerpts are the complete Fontainebleau scene, the cloak exchange between Elisabetta and Eboli, and the funeral music following Posa’s death, which incorporates music later used in Verdi’s Requiem.

While these additions do make the opera even longer, they add significant layers to the characters and narrative. For instance, the cloak exchange between Eboli and Elisabetta clarifies why Carlo mistakes Eboli for Elisabetta shortly afterward, resolving what can otherwise feel like an awkward dramatic moment. Similarly, the music following Posa’s death is crucial, as it portrays Filippo and Carlo mourning their mutual friend—a rare moment of shared humanity between the two. The alternate ending, which resembles the French version without the priests' chorus, is another intriguing feature.

If these elements aren’t enough to spark interest, the cast is a lineup of some of the greatest English singers of their era. Rita Hunter delivers a stunning performance as Elisabetta, her voice luxuriating in Verdi’s sweeping legato lines while cutting through with striking intensity in her spinto moments. Tom Swift is an excellent Don Carlo, singing with intelligence and sincerity as he navigates the role within the limits of his lyric instrument. Gwynne Howell brings a slightly woolly tone to King Philip but rises to great dramatic heights in his confrontation with the Grand Inquisitor, portrayed commandingly by Richard Van Allen. Maureen Guy delivers a fiery and wild Eboli.

Now for the bad news: the muffled sound quality often makes it challenging for the English text to come through clearly.