---
product_id: 27096560
title: "Verdi - Don Carlo / Lima, Cotrubas, Zancanaro, Baglioni, Lloyd, Haitink, Covent Garden Opera"
brand: "luis limarobert lloyd"
price: "€ 48.64"
currency: EUR
in_stock: true
reviews_count: 7
url: https://www.desertcart.hr/products/27096560-verdi-don-carlo-lima-cotrubas-zancanaro-baglioni-lloyd-haitink-covent
store_origin: HR
region: Croatia
---

# Verdi - Don Carlo / Lima, Cotrubas, Zancanaro, Baglioni, Lloyd, Haitink, Covent Garden Opera

**Brand:** luis limarobert lloyd
**Price:** € 48.64
**Availability:** ✅ In Stock

## Quick Answers

- **What is this?** Verdi - Don Carlo / Lima, Cotrubas, Zancanaro, Baglioni, Lloyd, Haitink, Covent Garden Opera by luis limarobert lloyd
- **How much does it cost?** € 48.64 with free shipping
- **Is it available?** Yes, in stock and ready to ship
- **Where can I buy it?** [www.desertcart.hr](https://www.desertcart.hr/products/27096560-verdi-don-carlo-lima-cotrubas-zancanaro-baglioni-lloyd-haitink-covent)

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## Description

Verdi - Don Carlo / Lima, Cotrubas, Zancanaro, Baglioni, Lloyd, Haitink, Covent Garden Opera

## Images

![Verdi - Don Carlo / Lima, Cotrubas, Zancanaro, Baglioni, Lloyd, Haitink, Covent Garden Opera - Image 1](https://m.media-amazon.com/images/I/51j4zstQWhL.jpg)

## Customer Reviews

### ⭐⭐⭐⭐ 







  
  
    Emphasis on clarity by great singers
  

*by E***N on Reviewed in the United States on May 16, 2015*

Since Amazon insists on putting reviews for completely different productions of Don Carlo together, to clarify this is for the Royal Opera production with Lima, Cotrubas, Lloyd and Zancanaro... This maybe wasn't the finest Don Carlo ever committed to video, but it is a quite good all-around production, certainly better than anything we've seen for the past decade, mainly because of the late, lamented, bygone standard of singing from virtually every principal.  If Bruna Baglioni (Eboli) wasn't quite up to snuff, she still did very well for a mezzo who wasn't even supposed to be here on the night anyway (she filled in for Tatiana Troyanos).  That said, whoever called her "charmless" needs to take a second look.  And her "Don Fatale" was excellent.  Luis Lima's customarily emotive acting style actually makes a lot of sense here, as Don Carlo was a borderline nutter in real life anyway, and here he's more Prince Hamlet than hero.  The real heroics (plotwise, acting wise and vocal wise) belong to Giorgio Zancanaro as Posa; possibly this is the finest recorded performance we have by this unique and tremendously underrated baritone who, sadly, didn't leave us much in the way of official recordings.  Despite his (perhaps undeserved) reputation as an indifferent actor, Zancanaro is in top form throughout this production and performs with great enthusiasm, dramatic clarity and attention to detail; his Act II scene with Robert Lloyd's Phillip is a knockout.  Lloyd is also an underrated singer who goes at this demanding role with clarity and zest.  And while Cotrubas is a bit old for Elisabetta, she is still in good voice and her final confrontation with Eboli is memorably acted.  The conducting by Bernard Haitink is no-nonsense and, like everything else in this production, designed for dramatic accessibility.

### ⭐⭐⭐⭐⭐ 







  
  
    A great but imperfect performance
  

*by R***A on Reviewed in the United States on September 26, 2007*

Of all the "Don Carlo's" available I have only seen the Von Karajan.  But for starters any version which omits the Fontanbleu scene is out of the running.  Verdi rewrote the confrontation between Phillipe and Elisabeth and the final duet between Elisabeth and Carlo when he made the shorter version without the first act.  Unfortunately, all of these revisions weakened the drama in my opinion.  As to the principles, surely Domingo is a better singer and actor than Lima but Lima is more appropriate physically, even though his "hamming" gets a bit silly at times.  But Domingo may be the only asset in the Met version.  Judging from comments on this site about other versions, the Met had some problems with the lower roles.  In the Haitink performance Zancanaro gives a flawless performance.  Others have faulted his acting, but though it is understated, I feel that his work is beyond criticism.  He always strikes the right mood.  Watch his glances at the other characters that he is not addresssing.  He is always manley and subtle.  As to his singing, others have commented on his excellence. To me, he is the best Verdi Baritone on DVD.  Thanks goodness he did not stay a policemen (his first career, evidently) LLoyd has a gorgeous sound. And he is suitably imperious and mencacing. Some have complained about the Grand Inquisitor but he is supposed to be an old man.  I, myself, find it disconcerting when I hear a young singer with a fresh voice singing what should be a old person.  It doesn't work.  Generally though, age bothers me less than some other reviewers.  Elisabeth looks a bit old, sure, but Cotrubas give a very touching performance in a role probably too "big" for her.  But contrast her with Freni.  Between her vocal lines Freni is mentally counting until her next entrance. Cotrubas is in character every moment of the performance. The Eboli is disappointing although she acts well enough.  The voice just isn't up to the demands of the role.  Others have praised Baltsa but I found her Eboli in the Karajan unbelievable coarse.  I think it might be remembered that court life, especially during the Inquisition, was a very sticky business.  People would be more likely to behave in a restrained manner at all times lest a false move anger the people they served.  This production, as conceived by Lucchino Visconti, is dark and brooding, restrained and subtle as well.  After two viewings It emerges as moving drama which fits together in spite of flaws to form an absorbing whole. I feel that it totally serves the greatness of the work.

### ⭐⭐⭐⭐⭐ 







  
  
    A worthy record of a good production
  

*by T***N on Reviewed in the United Kingdom on June 28, 2012*

The DVD of this 1985 production of Don Carlo from Covent Garden is a welcome addition to any Verdi collection.  Masterminded by Luchino Visconti with impressive sets and traditional costumes the production was filmed for video by the very experienced Brian Large.  The sound quality is good and the picture quality acceptable although, at times, there appears to be some colour fading.  As is now often the case with Covent Garden's historic productions there is no booklet but the sleeve does provide a full cast list and chapter headings.The production is fortunate to have very good singers in the six lead roles.  In what is a departure from the common accepted practice Luis Lima concentrates on the introverted nature of the hapless Don Carlo at the expense of heroic posture. In a role that demands that the protagonist is dazzled by the complexities of a great love the performer is suitably emotional.  The tenor has obviously given his role interpretation a great deal of thought and his well sung performance deserves every credit.  The opera, which is Verdi's most complex and grandest work, is in fact kind to its subject for the actual infante, who had only four great grandparents, was mentally unbalanced, seriously vindictive and like Elisabeth de Valois was to die in the early twenties.Always very accomplished when depicting pathos Ileana Cotrubas creates a tender Elisabetta di Valois.  The soprano is very impressive  during the confrontations that take place in the king's study and in her long aria in the final act.  The Covent Garden reliable Robert Lloyd looks every inch the part of the autocratic and troubled king.  The famous bass duets between the king and the grand inquisitor are among the high points of the production.  Here Joseph Rouleau creates a memorable example of ecclesastical tyranny.In addition to Luis Lima there are two stand-out performances.  Always a solid and dependable Verdi baritone Giorgio Zancanaro shares top honours with Bruna Baglioni.  Zancanaro makes Rodrigo a genuine father figure for Don Carlo and the scenes together are very touching.  Bruna Baglioni captures all the changing moods of the scheming, selfserving and finally penitent Princess Eboli.After watching this production a viewer can conclude that Don Carlo and Elisabetta are two retiring people forced by the accident of birth to participate in the demanding complexities of power politics and at such an interpretation neither Luis Lima nor Ileana Cotrubas can be bettered.  For those seeking a more robust definition of the role Placido Domingo is at his ardent best in the Met's 1980s version of the opera. My own favourite is the unorthodox offering of 1996 from Theatre du Chatelet, Paris with gold star performances from  Roberto Alagna and Karita Mattila.Trottman

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*Product available on Desertcart Croatia*
*Store origin: HR*
*Last updated: 2026-03-22*