---
product_id: 14097928
title: "Verdi - Don Carlo"
brand: "bumbryestes"
price: "$135.21"
currency: USD
in_stock: true
reviews_count: 8
url: https://www.desertcart.us/products/14097928-verdi-don-carlo
store_origin: US
region: United States of America
---

# Verdi - Don Carlo

**Brand:** bumbryestes
**Price:** $135.21
**Availability:** ✅ In Stock

## Quick Answers

- **What is this?** Verdi - Don Carlo by bumbryestes
- **How much does it cost?** $135.21 with free shipping
- **Is it available?** Yes, in stock and ready to ship
- **Where can I buy it?** [www.desertcart.us](https://www.desertcart.us/products/14097928-verdi-don-carlo)

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## Description

Verdi - Don Carlo

## Images

![Verdi - Don Carlo - Image 1](https://images-na.ssl-images-amazon.com/images/I/71l3Dj5wkjL.jpg)
![Verdi - Don Carlo - Image 2](https://images-na.ssl-images-amazon.com/images/I/71gFs302YCL.jpg)

## Customer Reviews

### ⭐⭐⭐⭐⭐ 







  
  
    Great opera in great performance with some reservation
  

*by L***J on Reviewed in the United States on August 21, 2016*

Verdi's Don Carlo is his greatest, amongst his other peak works. It defines humanism through the arts, exploring the depths of relationships and emotions expressed through the voice and the orchestra. I recommend this dvd highly, together with other outstanding recordings of this work.The principals are excellent. Caballe defines great singing. Her full, beautiful tone carries over the full cast and orchestra, and is easily reduced to an eloquent, silken thread, still full of luminous tone. Aragall is on my short list of tenors in last quarter of the 20th century. His beautiful sound shows how a good technique conserves a voice while reaching full potential. I wish there were a dozen dvd's with this great tenor. We must be grateful for what we have. Bruson demonstrates fully the high regard he earned during his career, but also the stress under which he placed his voice, resulting in  shake in the voice later on in his career. His sincerity in this role stands out. The best combo of singing and acting goes to Bumbry, who does more than show her feelings through hand motions and circling. She appears to me as the gossip of the court, not just a romantic rival for Carlo, but a person who always pays attention to what others are doing and knows how to make or break reputations by spreading rumors and innuendos.The weak link belongs to a strong singer. Estes makes a big impression on the live audience- obviously his sound and live appearance do a great deal on the stage- but I cannot see him as the King of Spain. He appears more as an individual, as a bully, a tyrant. When challenged he is hurt personally, not as the monarch of a great nation. Presented in public one wonders why the kings royal robe is open in the front, revealing his quite non royal looking belly, which makes him smaller, more domestic, rather than as a public figure representing his nation. Appearing in public with Elisabetta, I can't help wondering why the same queen who suffers in private, avoiding looking at others directly. smile and takes the king's hand so warmly. There isn't a hint of her inner conflict, yet, of course, great singer that she was, Caballe wasn't Callas on the stage.In contrast to Estes as king, I recall a performance with Hakan Hagegard as Count Almaviva in Mozart's Marriage of Figaro. The Count is trying to examine his options as those beneath his station are manipulating him. It is clear, throughout the scene, this Swede comes from a country which understands the difference between an elected figure who will have to compete to keep his office after a few years, and a figure connected to the monarchy of his country, conveying a sense of Divine right of authority. Seeing an American baritone in a Met production I felt that Almaviva was just a boss with a high salary who felt his perks challenged, rather than royalty feeling a place in the ruling his country. Soviet singers successfully conveyed this after decades of Communism, as the sense of what a monarch is remained there, even if became a relic of history.The conducting is good, but not on a level with someone like Giulini, whose eloquence and urgency in this work was powerful throughout.

### ⭐⭐⭐⭐ 







  
  
    Great Performance/Poor Sound
  

*by J***G on Reviewed in the United States on March 1, 2012*

Despite cuts, this is as fine a performance of the four act version of DON CARLO as you could possibly hope for. Stemming from the Orange Festival in France, it features it's five leads in absolutely peak form. Caballe and Bumbry easily outdo their own studio recordings of Elisabetta and Eboli and pretty much knock any of the competition off the field. Giacomo Aragall's dark sound adds a Hamlet-like brooding quality to the title role which is entirely appropriate. Bruson and Estes are likewise, superb.Thomas Fulton paces the score beautifully.The sound recording, like that of the widely circulated Orange performance of NORMA with Caballe and Vickers, is extremely poor. Amplified sound for outdoor performance compresses badly when reduced for CD. The sound is extremely "tinny" and unpleasant throughout.Somewhat oddly for a performance of this nature, there is a full libretto and translation.One must make special mention of the filler, Argentinian soprano Adelaide Negri singing "Tu che le vanita". Negri has always been a highly problematic singer. Of astounding range and technique, her voice just doesn't have the simpatico qualities needed to illuminate the Italian repertoire. She particularly suffers in comparison to Caballe. One wishes that the Phillip/Inquisitor scene had been included rather than this poorly sung aria.

### ⭐⭐⭐⭐⭐ 







  
  
    SPECTACULAR AND DEEPLY MOVING DON CARLO
  

*by F***A on Reviewed in the United States on July 2, 2016*

Filmed live at the Roman arena in Orange, this Don Carlo benefits from the authentic ping in the the voices as they bounce back from the 7300 spectators and ancient stones.  Chose DTS 5.0  The cast is superb and in their prime.  Aragall had the most beautiful sound of the four star tenors of his time--Carreras, Domingo, Pavarotti and himself.  Scotto has said it in interviews and I heard him live in San Francisco as Werther and Maurizio as well as Don Carlo.  His squillo radiates around his fervent tone.  He was always nervous and that enhances his portrayal of Carlo, the odd prince.  He is beautiful to watch and his duets with Caballe and Bruson are spellbinding dances, filled with what Thomas Mann called "Spanish Etiquette"--grave and to-the-death.  Bruson sings with high Verdi style;  his gorgeous voice has deep sadness.  Caballe outdoes herself on this night, always taking her time with her ascending kong lines, swelling her inimitable dark timbre.  She opens up her voice at climaxes and astonishes the listener..  Bumbry dramatizes Eboli's two arias in contrasting ways.  She has the wit and technique for the veil song and the self loathing for her tremendous "O don Fatale".  Her voice cuts sumptuously and the crowd erupts.  Simon Estes did not leave many DVDs but here he sings Fillipo with a glorious upper register, deep commitment, and implacable dignity.  He is the most underrated singer in this group.  Thomas Fulton conducts a detailed, varied account of this grandest of all Verdi's operas.  Too bad the orchestra lets him down.  Indeed, too bad he left us all so soon. Although the picture is dark, the spotlight captures individual singers and shows total commitment on their faces.  Of all the many Don Carlo CDs and DVDs I own, this performance (along with the Solti/Tebaldi/Bergonzii/Chiaurov/Talvela CD) will draw me back compulsively for a long time.

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*Product available on Desertcart United States of America*
*Store origin: US*
*Last updated: 2026-02-21*