Absolute perfection!

This is a rare occurrence when even the critics agree - this IS the best Don Carlo available. First, the score: it is the five-act version, which includes all the music Verdi wrote for this opera, except for the ballet which does not really add to the action and can be found on other CDs. While the composer was later satisfied with the four-act abridged "action-packed" version and even wrote that it would be "more practical [...] and better from artistic point of view", we the fans want to hear as much of our favorite composer as possible. Those agreeing with Verdi's statement can find a fantastic recording with many of the same principals under Karajan's baton on EMI. But they would sorely miss the Fontainebleau scene. This is a live recording but one hardly notices it. The sound is very well balanced, there are just a few annoying coughs, and the clarity is exceptional for MYTO. Claudio Abbado revels in orchestral beauty of the score, but never does his orchestra overwhelm the singers. Those looking for the oom-pa-pa style of conducting will not find it here; the broad and colorful palette, highlighted by warm strings and clear wind sound is a marvel.

The principal and even supporting roles are brilliantly cast; it seems as each artist was "born" to sing his or her particular role. José Carreras is a powerful, heroic, simply dashing Don Carlos, his natural gift for romantic singing setting him strikingly apart (and above) even from such greats as Corelli and Vickers. We have come to expect the ethereal beauty of Carreras's love duets, and it will come as a surprise to many that his fortissimo notes are that strong, particularly without the benefit of studio settings. They are clear and ringing, engagingly projected forward, yet never loosing that splendid glowing timbre that characterizes all of his singing. He is accompanied by artists of equal vocal grace and appeal. Mirella Freni's angelic voice can take commanding and regal overtones, and at the same time she comes across as subtle and vulnerable heroine, a very sympathetic character. No wonder Ms. Freni could be so wonderful as Verdi's most beloved leading lady - Aida. Lately, several recordings and performances featured a spinto soprano as Elisabetta. I am not the one to say what's right or wrong, but to me only a voice such as Freni's (or Caballé's) can be effective in the final duet, interrupted by Philips's thunderous "Si, per sempre! " Speaking of Philip, this set has the best one that ever was - Nicolai Ghiaurov. I am a huge fan of the Bulgarian bass who prefers to stay away from spotlight, and after listening to his breathtaking "Ella giammai m'amò" you will be too, I am certain. Following the beautifully played introduction, he opens one of the best basso arias slower than usual, emphasizing the lyrical aspects of it, truly immersed in King's sincere love for Elisabetta and his sincere sorrow; but then he is all grim resolve and relentless fury, subsiding again into hurt and regret. I had to listen to it several times over - it's spellbinding. Baritone Piero Cappuccilli is one of the finest masters of Verdian line; his legato passages are flawless and his powerful voice is ideal for heroic Rodrigo. He has a show-stopping death scene, which he delivers with impeccable style, no gasps, no snarling, just warm, beautiful, heartbreaking sound. He and Carreras deliver a fantastic Friendship duet, readily resembling the one of Merrill and Bjorling. Elena Obraztsova, a Bolshoi Star, got lots of applause during this performance. For one, she has the highly spirited Bolero and then it's off to "O don fatale". Her Eboli is very unusual, almost masculine is sound, with powerful chest resonance, no vulnerability or even doubt there. She clearly brings out Eboli's "bad side" so to speak. A more charming Eboli can be found on Karajan's set - Agnes Baltsa, and Giulini's - Verett. But for strong, darkly seductive portrayal turn to Obraztsova. Finally Evgeny Nesterenko, another Bolshoi star, is cast here as the Grand Inquisitor. He is a very fine bass, no doubt, but he has to sing opposite Ghiaurov and he just does not seem as all-powerful as Philip describes him to Rodrigo. On recordings now not available, this role was taken up by Martti Talvela, and the ocean of sound he and Ghiaurov awoke together literally shook the house down. Interestingly, in 1985 Claudio Abbado cast Ghiaurov in this role for his DG recording of French version. Having said all that, I think Nesterenko is a solid commanding Inquisitor still, with wonderful breath span and booming low F.

Overall, this is more than just impressive recording. Despite the fact that it's live, it's the very best. Maybe it can be surpassed in the future, I am certainly looking forward to that, but it has not been equaled as of yet in terms of drama, vocal luster, and absolute dedicated and affectionate involvement from all the artists.