The vogue for Don Carlos as Verdi delivered the score to the Paris Opera in 1867—five acts, with a ballet, in French—seems to be receding. In 2017, as music director of that august institution, Philippe Jordan championed an unreconstructed performing edition that lacked only the ballet. Now, occupying the same position at the Vienna State Opera, Jordan opts for the composer’s second and third thoughts as finalized for the heavily revised four-act, Italian-language Milan premiere at the Teatro alla Scala in 1884. The Hamlet-inspired title role of the ineffectual crown prince under the thumb of his tyrannical father falls to Joshua Guerrero, a vivid American tenor with keen instincts for emotional shadings. In the first cast, the chameleonlike Asmik Grigorian appears as the bride the prince lost to his father, with Ève-Maud Hubeaux as the serpent in the grass who sleeps with the older man even as she lusts for his son. (In March, Nicole Car and Elīna Garanča step in as the female leads.) The dystopian downer of a production in Paris was by Krzysztof Warlikowski. Telltale stylistic tics aside, expect more of the same from Kirill Serebrennikov. —Matthew Gurewitsch