For that I blame Verdi, who over a two-decade span subjected his expansive Parisian grand opéra of 1866–67 to a series of cuts and revisions, until he finally retired his editorial pen with the four-act “Milan version,” premiered in 1884, and the largely identical “Modena version” of 1886, which restored the opera’s Milan-deleted first act. This Schiller-inspired melding of romantic and political intrigues at the court of Spain’s Philip II remains my most treasured Verdi score-but it’s also the one that, in performance, almost always leaves me longing for something more. Don Carlo, in Italian, not Don Carlos, in French-that’s how I, like nearly everyone who loves this noblest of operas, first made its acquaintance.
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