This, despite some uneven vocal performances, is an important document and a very fine show. Claudio Abbado, for opening night of the 1977 season, chose many unknown parts of the Paris version, restoring many scenes never before heard at La Scala, although he uses the Italian translation. What we get is the “new” opening, wherein Elisabeth meets with her poor countrypeople; the Eboli/Elisabeth mask-swapping business at the start of Act 3; the strange ensemble (later used in the Requiem) after Posa’s murder; and a chorus of monks and bad guys after the final duet, which brings about a pianissimo ending to the opera. All of this is now relatively old hat in performance and recording, but the novelty of it here is palpable, and cast, chorus, and orchestra react with great enthusiasm to their exciting undertaking.
We get a superb, youthful Domingo, better than in his commercial recording (he was always best when a role was new; he clearly gets bored easily), Margaret Price, whose Mozart-singing background makes her a dignified Elisabeth despite the occasional spread high note, Renato Bruson as a truly classy Posa, with a death scene to die for, Jelena Obratsova’s truck-driving, unsubtle-yet-thrilling (after a messy “Veil Song”) Eboli, and a potent Philip from Jevgeny Nesterenko (with a nasty Luigi Roni as the Inquisitor, missing only the bottom tones). This has the sense of an occasion, and it is. There are finer Don Carlos on the market, but this easily could be your only one.
