[Met Performance] CID:260500
Don Carlo {114} Metropolitan Opera House: 02/14/1980.
(Review)
Metropolitan Opera House
February 14, 1980
In Italian
DON CARLO {114}
Giuseppe Verdi--François Joseph Méry/Camille du Locle
Don Carlo...............Vasile Moldoveanu
Elizabeth of Valois.....Renata Scotto
Rodrigo.................Sherrill Milnes
Princess Eboli..........Tatiana Troyanos
Philip II...............Paul Plishka
Grand Inquisitor........Jerome Hines
Celestial Voice.........Therese Brandson
Friar...................John Cheek
Tebaldo.................Betsy Norden
Forester................Peter Sliker
Count of Lerma..........Dana Talley
Countess of Aremberg....Barbara Greene
Herald..................Timothy Jenkins
Conductor...............James Levine
Production..............John Dexter
Set designer............David Reppa
Costume designer........Ray Diffen
Lighting designer.......Gil Wechsler
Translation by Lauzières, Zanardini
Don Carlo received nine performances this season.
Review of Robert Jacobson in Opera News
The revival of "Don Carlo" (Feb. 14) had some new faces in Madrid, together with Miss Scotto's intimate Elisabetta and Sherrill Milnes' stentorian Posa. Tatiana Troyanos' multicolored mezzo, with its agility and secure range, together with the singer's innate musicianship and theatrical savvy, made her a treasurable Eboli. Some flutter infected her veil song, but she negotiated superbly in and out of chest voice, mixing a brilliant top voice with focused low tones; and she imbued "O don fatale" with mad-scene intensity of dramatic ferocity and communication. Vasile Moldoveanu's tight, throaty, basically lyric tenor did not fill out Don Carlo's music ideally. His technique seems unpredictable, since he is capable of high notes of healthy timbre and others that are choked, and as an actor he moved stiffly, as if doing the role by rote. Paul Plishka's humane qualities did not always work in his favor as King Philip, and he played the role somewhat younger than is customary, but Plishka made his points more, through his lava-like bass, which had warmth and security. Jerome Hines' Grand Inquisitor riveted one by means of his towering characterization and seemingly ageless bass. Therese Brandson (house debut) lent bright high sounds to the Celestial Voice. Levine's performance has evolved to new peaks, for it is filled with a fierce sense of excitement and true awareness of Verdi song.