Leyla Gencer Archive

DON CARLOS

Giuseppe Verdi (1813 - 1901)

Opera in five acts in Italian
Libretto: G. Méry and C. du Locle after Schiller
Premièr at Opéra, Paris – 11 March 1867

28, 30 October - 02†, 07 November 1964

Lyric Opera, Chicago

Conductor: Bruno Bartoletti

Chorus master: Michael Lepore

Stage director: Christopher West

Scene and costumes: Robert Fletcher

Elisabeth de Valois LEYLA GENCER soprano

Princess Eboli her lady-in-waiting FIORENZA COSSOTTO mezzo-soprano
GRACE BUMBRY mezzo-soprano (02., 07.11)

Don Carlos heir to the Spanish throne RICHARD TUCKER tenor
Rodrigo Marquess of Posa TITO GOBBI baritone
Philip II King of Spain NICOLAI GHIAUROV bass
The Grand Inquisitor BRUNO MARANGONI bass
A Monk RAYMOND MICHALSKI bass
Tebaldo JEANNE DIAMOND soprano
A heavenly voice CAROL TOSCANO soprano
Count Lerma ROBERT SCHMORR tenor
Monks PAUL KIESGEN, WILLIAM POWERS, FRANK BAKER, LAWRANCE GRAY, MARTIN ROSEN, RICHARD STADELMANN, KENNETH THOMPSON, JONAS, VEZNELIS

Flemish Deputy K. CHARLES GRAVES, BERNARD IZZO, HOWARD NELSON, EDWARD PIERSON, RICHARD SCHREIBER, ROBERT SMITH

Time: Mid-Sixteenth Century

Place: France and Spain

† Recording date

Photos © DAVID H. FISHMAN, Chicago

Tito Gobbi's 51st Birthday (1964.10.24)

Corelli visits Gencer after the performance.
He was also in Chicago for Carmen production

CHICAGO TRIBUNE

1964.02.20

CHICAGO TRIBUNE

1964.02.23

WINNIPEG TRIBUNE

1964.02.29

OPERA MAGAZINE

1964 April

CHICAGO TRIBUNE

1964.05.03

CHICAGO TRIBUNE
1964.08.02

CHICAGO TRIBUNE

1964.10.03

CHICAGO TRIBUNE

1964.10.18

CHICAGO TRIBUNE
1964.10.23

CHICAGO TRIBUNE

1964.10.25

CHICAGO TRIBUNE

1964.10.28

CHICAGO TRIBUNE

1964.10.29

CHICAGO TRIBUNE

1964.11.01

OPERA MAGAZINE

1965 January

Chicago. Don Carlos on the following night was sadly mangled. One expected no Fontainebleau scene, but the wholesale excision of Count Lerma's part and much of the music of the auto-da-fe and several other cuts were inexcusable. Richard Tucker sang the title-role, and the voice was as fresh and youthful as ever — a true golden Italian tenor sound. If his acting was rudimentary he at least never offended. Tito Gobbi repeated his well-known Posa, and, as always, one saw new subtleties in his interpretation. With the exception of his Farewell to Carlos, which lies terribly high for his voice, he was in good vocal form. So was Nicolai Giaurov, whose Philip was little short of magnificent. This must truly be the greatest vocal talent to be heard today. His interpretation of the role has also deepened since we heard it at Covent Garden a couple of seasons ago. So, has Grace Bumbry's Eboli (Fiorenza Cozzotto sang the role at the first two of the season's four performances), and she was in far better vocal condition than she had been in Carmen. Leyla Gencer was a regal Elisabeth, producing some of her exquisite piano tones, but also forcing her voice in the more dramatic passages. Bruno Marangoni's Grand Inquisitor was good, but paled beside Giaurov's Philip. Bruno Bartoletti confirmed that he is one of the outstanding young Italian conductors of the day and he directed with a real sweep and feeling for this miraculous score. Christopher West, who produced, could do little more than bring on his principals and arrange the chorus. He was fortunate to have a cast that had sung the opera so often.

OPERA IN CHICAGO

1966.01.01