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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.

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