Don Carlos
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- This article refers to the opera Don Carlos by Giuseppe Verdi (and its revised Italian version, known as Don Carlo). For other uses, see Don Carlos (disambiguation).
Don Carlos is a five-act Grand Opera by the Italian composer Giuseppe Verdi with a libretto written in French by Camille du Locle and Joseph Méry, based on the dramatic play Don Carlos, Infant von Spanien ("Don Carlos, Infanta of Spain") by Friedrich Schiller. It received its first performance at the Paris Opéra on 11 March 1867.
Meanwhile, a translation of Don Carlos into Italian was in preparation by Achille de Lauzières as early as the autumn of 1866 and Verdi insisted that the opera, still referred to as Don Carlos, be given in the same five act version plus ballet as at the Paris Opera[1]. This Italian version was presented first at the Royal Italian Opera House, Covent Garden in London (now the Royal Opera House) on 4 June 1867 and received its Italian premiere at the Teatro Comunale di Bologna on 27 October of that year.
The idea of reducing the scope and scale of Don Carlos came to Verdi by 1875, partly as a result of the composer hearing about many productions which removed Act 1 plus the ballet and reduced other parts significantly. By April 1882, he was in Paris where he was ready to make changes. Already familiar with the work of Charles Louis Etienne Truiner (known as Nuitter), who had worked on French translations of Macbeth, La forza del destino, and Aida with du Locle, the three proceeded to spend nine months on major revisions to create a 4-act version, which was completed by March 1883.
Don Carlo was prepared for its La Scala premiere the following year, the revision of the French text being credited to du Locle, with this text translated into Italian by Angelo Zanardini and based on the original 1966 translation by Achille de Lauzières. The premiere performance at La Scala took place on 10 January 1884, this version omitting the original French Act 1, "the Fontainebleau Scene" and the ballet.
Although Verdi had accepted the need to removed the first act, it seems that he changed his mind and allowed a performance on 29 December 1886 in Modena which presented the “Fontainebleau’’ first act along with the new 4-act Italian version. This version was published by Ricordi as “a new edition in five acts without ballet” [2].
Contents |
[edit] Characters
- Principal roles
- Philip II, King of Spain - bass
- Don Carlo, Infante of Spain - tenor
- Rodrigo, Marquis of Posa - baritone
- The Grand Inquisitor - bass
- Elisabeth of Valois - soprano
- The Princess Eboli - mezzo-soprano
- Minor roles
- A Monk - bass
- Tybalt, page to Elisabeth - soprano
- A Voice from Heaven - soprano
- Count of Lerma - tenor
- Royal Herald - tenor
- Other
- Countess of Aremberg - mute
- Flemish deputies, Inquisitors, Ladies and Gentlemen of the Spanish Court, the people, Pages, Guards, Monks, Soldiers - chorus
[edit] Performance history
In the first half of the 20th century, Don Carlos/Don Carlo was rarely performed, but in the postwar period it became part of the standard operatic repertoire. Among the notable productions was the 1958 staging of the 1886 five act Italian version at the Royal Opera House, Covent Garden directed by Luchino Visconti. There are a number of recordings, and it is regularly performed, particularly in the four act 'Milanese' version.
[edit] Highlights
- "Io la vidi" (Carlo)
- "Dio, che nell'alma infondere" (Carlo & Rodrigo: The Friendship Duet)
- "Nel giardin del bello" (Eboli - The Veil Song)
- "Ella giammai m'amò" (Filippo)
- "Ah! Sii maledetto sospetto fatale" (Filippo, Eboli, Rodrigo, Elisabetta)
- "O don fatale" (Eboli)
- "Io morrò, ma lieto in core" (Rodrigo)
- "Tu che le vanità" (Elisabetta)
[edit] Synopsis of the four act 'Milanese' version
Before the opera begins, Don Carlo and Elisabeth have met and fallen in love anticipating their marriage, but unexpectedly the princess has been claimed by the old King instead. (This is the 'Fontainebleau scene' which forms the first act in the French and Italian 5 act versions.)
Act 1
Scene 1
At the monastery of San Juste monks pray for the soul of Emperor Charles V. His grandson Don Carlo enters, anguished that the woman he loves is now married to his father. A monk resembling the former emperor offers him eventual consolation of peace through God. Don Carlo's friend Rodrigo, Marquis of Posa, has just come from the oppressed land of Flanders. He asks for the Infante's aid on behalf of the suffering people there. Don Carlo reveals that he loves Elisabeth. Rodrigo encourages him to leave Spain and go to Flanders. The royal party enter.
Scene 2
In a garden near San Juste, Princess Eboli sings the Veil Song ('Nel giardin del bello') about a Moorish King and an alluring veiled beauty that turned out to be his neglected wife. Elisabeth enters. Rodrigo delivers a letter from France (and secretly a note from Don Carlo). At his urging, Elisabeth agrees to see the Infante. Meanwhile Eboli is hopeful that it is her that Don Carlo loves.
Don Carlo asks Elisabeth to request Philip to send him to Flanders. She promptly agrees, provoking Don Carlo to renew his declarations of love, which she resists because they are now mother and son. After the Infante leaves, the King finds the Queen unattended, and orders her lady-in-waiting to return to France. The King approaches Rodrigo. Refusing to listen to Rodrigo's pleas for Flanders, he nevertheless places his trust in him, while advising him to beware of the Grand Inquisitor.
Act 2
Scene 1
Don Carlo has received a note, apparently from Elisabeth, suggesting a midnight meeting in the Queen's gardens. However it is with Eboli not Elisabeth. She is delighted when he declares his love, but enraged when she realizes that it is not for her but for the Queen. Rodrigo enters and Eboli threatens them: she will tell the King that Elisabeth and Don Carlo are lovers. Rodrigo tells Don Carlo to entrust him with any sensitive political documents in his possession.
Scene 2
Monks lead in those condemned by the Inquisition to be burnt to death, followed by the royal procession for the coronation of the King and Queen. Don Carlo and the Flemish deputies interrupt the procession asking for the King's mercy. The people and the court are sympathetic, but the King, supported by the Inquisition, orders their arrest. Don Carlo bars the way, drawing his sword against the King. When no-one will disarm him, Rodrigo steps forward asking his friend for his sword, which Don Carlo surrenders. The King rewards Rodrigo with a dukedom. The auto-da-fe begins.
Act 3
Scene 1
In his study Philip laments that Elisabeth has never loved him ('Ella giammai m'amò). The Grand Inquisitor enters. Should Philip put his son to death? God sacrificed his own son replies the Inquisitor. However to the anger of the King, it is Rodrigo who is the true target of the Inquisitiion. Elisabeth enters demanding her missing jewel case, in which the King has found a portrait of Don Carlo. Philip accuses her of adultery. Eboli and Rodrigo enter. Eboli feels remorse towards Elisabeth: not only has she loved Don Carlo but she has also been the King's mistress. Elisabeth gives her the choice of exile or entering a convent. Eboli resolves to try to save Don Carlo ('O don fatale').
Scene 2
Don Carlo is in prison, Rodrigo tells him that he will be saved but that he himself will have to die, incriminated by the documents formerly entrusted to him. Shortly afterwards Rodrigo is shot by Inquisition assassins. Dying, Rodrigo tells Don Carlo that Elisabeth will meet him at San Juste the following day. Philip enters, offering his son freedom. Don Carlo repulses him. There is a popular insurrection (instigated by Eboli) in support of the Infante and the populace threatens the King, however they are subdued by the appearance of the Grand Inquisitor.
Act 4
At the monastery of San Juste, Elisabeth prays before the tomb of Charles V ('Tu che le vanità'). Her life is at an end but Don Carlo must fulfill his destiny. Don Carlo appears and they say a final farewell. Philip and the Grand Inquisitor enter: the King will deliver his son to the Inquisition. From the tomb of Charles V, the figure of a monk emerges leading Don Carlo away into the safety of the monastery.
[This synopsis by Simon Holledge was first published on Opera japonica http://www.operajaponica.org and appears here by permission.]
[edit] References
[edit] Bibliography
- Budden, Julian, The Operas of Verdi, Volume III, London: Cassell, Ltd, 1984 ISBN 0-304--31060-3
- Phillips-Matz, Mary Jane, Verdi: A Biography, Oxford and New York: Oxford University Press, 1994 ISBN 0-19-313204-4
