There are about two-and-a-half reasons to own this recording of the four-act version of Don Carlo, taped live in December, 1992 in Milan–not nearly enough, by my count. The first is Pavarotti. This run of performances was the occasion of his being booed by the La Scala audience, but you won’t find any reasons to boo him here; whatever he did wrong apparently has been patched up either from other performances or in the studio. He’s in glorious voice and actually seems involved in Carlo’s political and romantic problems–a stunning performance.
Reason two is Riccardo Muti’s leadership–tight, handsome, sensitive to the intimate moments, and aware of the grandeur of both the individual passions and public displays. And his orchestra and chorus respond magnificently. The half reason is Samuel Ramey’s Filippo–beautifully sung and imperious in the early acts. He falls down in his big moments, however; his soliloquy lacks nobility and tragedy and the scene with the weak Grand Inquisitor just goes by like a chance meeting of two basses. He’s got the voice; he’s lacking the depth.
The rest of the cast is pretty bad, even by today’s standards. Daniela Dessi is far too light for Elisabetta. Just when you hope the voice will open up it thins out, and this affects her characterization as well. Luciana D’Intino is a nice singer, but she also lacks the stature for a character like Eboli. And Paolo Coni sounds as if he’d better rethink his way of singing–spread tone above the staff and above mezzo-forte.
The sound is gorgeous. But even including Pavarotti, this is a Don Carlito. If you love this opera, go for the five-act version with Domingo or Bergonzi, both with excellent others in the casts too, or the four-act version with Carreras and Freni.
