Again and again, opera lovers see Verdi triumph over his material. Such is the case in this opera, where the actual, less romantic facts of history do not support the personas nor the actions assigned to his characters.
In actuality, history records Don Carlo as an enfeebled adolescent, a weakling Infante, addicted to vices and subject to epileptic seizures; hardly love's young dream for the 13-year-old French Princess Elizabeth of Valois, who instead wed Carlo's father, Philip II, only 32 years old at the time, to cement a peace treaty between France and Spain.Verdi, almost as much a patriot as he was a musician, more often than not wove a theme of patriotic obsession into his operas; and the true basis for "Don Carlo" as he desired it he found in a play of the same name by Schiller, who manipulated his characters for romance and drama.
Hence Don Carlo emerges as a visionary if somewhat weak prince, dedicated to the cause of oppressed Flanders - a vision he shares with the idealistic Marquis Rodrigo de Posa. The well-meaning, elderly Philip is torn by conflicting loyalties, but under the thumb of the unbending Grand Inquisitor. The noble Elizabeth bows to a marriage of state, renouncing her love for her "son," Carlo.
The opera is long and difficult, with many significant major roles and an ending that for many sharply defies any sense of possibility, making it difficult to suspend disbelief. Hence it is little performed live. On the other hand, it contains many beloved Verdi arias and ensembles, frequently excerpted. Some of its scenes are among Verdi's most dramatic (the confrontation between Philip and the Grand Inquisitor, the auto de fe, the catalytic oath of liberty duet for Carlo and Posa). And its pathos, its sense of love and opportunity lost to the quirks of destiny are heart-rending.
The recording is a fine one, guided by the sure hand of Maestro James Levine, who knows the ins and outs of Verdi to perfection. Working with a cast of Verdians in their prime, he produces a heroic, finely nuanced performance of this highly regarded masterpiece.
Aprile Millo is at her best, her affecting dramatic voice steady and well controlled in her big arias and heroic dramatic scenes. Michael Sylvester, a tenor emerging to prominence on the vocal scene, produces an equally steady and moving Don Carlo, more acted upon than acting.
Dolora Zajick makes the most of the Princess Eboli's opulent arias. Furlanetto is touching and beautifully expressive as Philip, with Samuel Ramey projecting coldly chiseled perfection as the Grand Inquisitor, while talents such as Paul Plishka and Kathleen Battle are lavished on cameo roles.