Don Carlos

Template:Verdi operas:This article refers to the opera Don Carlos by Giuseppe Verdi (and its revised version, known in Italian as Don Carlo).
For other uses, see Don Carlos (disambiguation).

Don Carlos is a five-act Grand Opera composed by Giuseppe Verdi to a French language libretto by Camille du Locle and Joseph Méry, based on the dramatic play Don Carlos, Infant von Spanien ("Don Carlos, Infante of Spain") by Friedrich Schiller. It received its first performance at the Paris Opéra on 11 March 1867.

Over the next twenty years, a number of cuts and additions were made to the opera, in consequence of which all sorts of permutations are available to directors and conductors. No other Verdi opera exists in so many versions. At its full-length (including the ballet and the cuts made before the first performance), it contains about four hours of music, and is easily Verdi's longest opera.

Revisions and translation

Pre-première cuts and first published edition

Verdi made a number of cuts in 1866, after finishing the opera but before composing the ballet, simply because the work was becoming too long. These comprised:

• a duet for Elisabeth and Eboli in Act 4, Scene 1
• a duet for Carlos and the King after the death of Posa in Act 4, Scene 2
• an exchange between Elisabeth and Eboli during the insurrection in the same scene

After the ballet had been composed, it emerged during the 1867 rehearsal period that, without further cuts, the opera would not finish before midnight (the time by which patrons would need to leave in order to catch the last trains to the Paris suburbs). Verdi then authorised some further cuts, as follows:

• The introduction to Act 1, with a chorus of woodcutters and their wives, and including the first appearance of Elisabeth
• A short entry solo for Posa ("J'étais en Flandres") in Act 2, Scene 1
• Part of the dialogue between the King and Posa at the end of Act 2, Scene 2

The opera, as first published at the time of the première, consisted of Verdi's original conception, minus all of the above cuts but including the ballet.

Further authorised and unauthorised Paris cuts

After the première and before leaving Paris, Verdi authorised the Opéra authorities to end Act 4, Scene 2 with the death of Posa (thus omitting the insurrection scene) if they thought fit. After his departure, further (unauthorised) cuts were apparently made during the remaining performances.

First translation into Italian

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. This Italian translation - with some cuts and alterations - was presented first at the Royal Italian Opera House, Covent Garden in London (now the Royal Opera House) on 4 June 1867 (conductor: Michael Costa), and received its Italian premiere - uncut - at the Teatro Comunale di Bologna on 27 October of that year.

Further revisions to the music and the text

Following an unsuccessful performance in Naples in 1871, Verdi was persuaded to visit the city for further performances in 1872-3, and he made two more modifications to the score:

• additions to the scene for Posa and the King in Act 2, scene 2 (Italian verses by Antonio Ghislanzoni) to replace some of the previously cut material. This is the only portion of the entire opera that was ever composed by Verdi to an Italian rather than a French text.
• cuts to the duet between Carlos and Elisabeth in Act 5.

The idea of reducing the scope and scale of Don Carlos had originally come to Verdi in 1875, partly as a result of his having heard reports of productions, such as Costa's, which had removed Act 1 and the ballet and introduced cuts to other parts of the opera. By April 1882, he was in Paris where he was ready to make changes. He was already familiar with the work of Charles-Louis-Etienne Nuitter, who had worked on French translations of Macbeth, La forza del destino, and Aida with du Locle, and the three proceeded to spend nine months on major revisions of the French text and the music to create a 4-act version. This omitted Act 1 and the ballet, and was completed by March 1883.

Revised Italian translation

Don Carlo

Don Carlo, a new Italian translation of this revised French text and based on the original 1866 translation by de Lauzières, was made by Angelo Zanardini. The La Scala, Milan, première, under this title, took place on 10 January 1884.

Although Verdi had accepted the need to remove 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 revised 4-act version. This version was published by Ricordi as “a new edition in five acts without ballet”.

Subsequent performance history

Performances of Don Carlos/Don Carlo in the first half of the twentieth century were rare, but in the postwar period it has been regularly performed, particularly in the four-act 'Milanese' version. Following the notable 1958 staging of the 1886 five-act Italian version at the Royal Opera House, Covent Garden (director Luchino Visconti), this version has increasingly been performed elsewhere and has been recorded by, among others, Georg Solti and Carlo Maria Giulini. Finally, stagings and recordings of the original five-act French version of the opera have become more frequent. It has been telecast at least once by the Metropolitan Opera, with James Levine conducting and Plácido Domingo as Don Carlos. This telecast, along with a performance with Roberto Alagna as Don Carlos, have been released on DVD.

Roles

		Premiere 11 March 1867 (Conductor: Hainl)	Revised version première 10 January 1884 (Conductor: Unknown)
Philip II, King of Spain	bass	Louis-Henri Obin	Alessandro Silvestri
Don Carlos (Don Carlo), Infante of Spain	tenor	A. Morère	Francesco Tamagno
Rodrigue (Rodrigo), Marquis of Posa	baritone	Jean-Baptiste Faure	Paolo Lhérie
The Grand Inquisitor	bass	David	Francesco Navarini
Elisabeth of Valois	soprano	Marie-Constance Sass	Abigaille Bruschi-Chiatti
Princess Eboli	mezzo-soprano	Pauline Gueymard-Lauters	Giuseppina Pasqua
A monk	bass	Armand Castelmary	Leopoldo Cromberg
Thibault (Tebaldo), page to Elisabeth	soprano	Leonia Leveilly	Amelia Garten
A Voice from Heaven	soprano
The Count of Lerma	tenor	Gaspard	Angelo Fiorentini
Royal Herald	tenor	Mermant	Angelo Fiorentini
Countess of Aremberg	Silent	Dominique
Flemish deputies, Inquisitors, Ladies and Gentlemen of the Spanish Court, the people, Pages, Guards, Monks, Soldiers - chorus

Synopsis

This synopsis is based on the original five-act version composed for Paris and completed in 1866. Important changes for subsequent versions are noted in italics. First lines of arias, etc., are given in French and Italian

Act 1

This Act was omitted in the 1883 revision

The Forest of Fontainebleau, France. Winter. Prelude and chorus of woodcutters and their wives, who complain of their hard life, made worse by war with Spain. Elisabeth, daughter of the King of France, arrives with her attendants. She reassures the people that her impending marriage to Don Carlos, son of the King of Spain, will bring the war to an end, and departs (This was cut before the Paris première and replaced by a short scene in which Elisabeth crosses the stage and hands out money to the woodcutters). Carlos, coming out from hiding, has seen Elisabeth and fallen in love with her (Aria: "Je l'ai vue" / "Io la vidi"). When she reappears, he initially pretends to be a member of the Count of Lerma's delegation, but then reveals his identity and his feelings, which she reciprocates (Duet: "De quels transports poignants et doux" / "Di quale amor, di quanto ardor"). A cannon-shot signifies that peace has been declared between Spain and France, and Thibault informs Elisabeth that her hand is to be claimed not by Carlos but by his father, Philip II. Lerma and his followers confirm this, and Elisabeth feels bound to accept, in order to consolidate the peace. She departs for Spain, leaving Carlos devastated.

Act 2

This Act is Act 1 in the 1883 revision

Scene 1
At the monastery of Saint-Just (San Jerónimo de Yuste) in Spain, monks pray for the soul of the Emperor Charles V. His grandson Don Carlos enters, anguished that the woman he loves is now married to his father. In the 1883 revision, he sings the aria "Je l'ai vue" / "Io la vidi", salvaged from the omitted first Act. A monk resembling the former emperor offers him eventual consolation of peace through God. Carlos's friend Rodrigue, Marquis of Posa, has just come from the oppressed land of Flanders (Aria: "J'étais en Flandres", cut during the pre-première rehearsals). He asks for the Infante's aid on behalf of the suffering people there. Carlos reveals that he loves his step-mother. Posa encourages him to leave Spain and go to Flanders. The two men swear eternal friendship (Duet: "Dieu, tu semas dans nos âmes" / "Dio, che nell'alma infondere"). King Philip and his new wife, with their attendants, enter to do homage at Charles V's tomb, while Don Carlos laments his lost love.

Scene 2
In a garden near Saint-Just, Princess Eboli sings the Veil Song ("Au palais des fées" / "Nel giardin del bello") about a Moorish King and an alluring veiled beauty that turned out to be his neglected wife. Elisabeth enters. Posa delivers a letter from France (and secretly a note from Don Carlos). At his urging (Aria: "L'Infant Carlos, notre espérance" / "Carlo ch'è sol il nostro amore"), Elisabeth agrees to see the Infante alone. Meanwhile, Eboli is hopeful that it is her that Carlos loves.

When they are alone, Don Carlos asks Elisabeth to request Philip to send him to Flanders. She promptly agrees, provoking Carlos 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, the Countess of Aremberg, to return to France. Elisabeth asks the Countess to say farewell to France on her behalf, and comforts her by telling her that at least she will be returning to her homeland (Aria: "Oh ma chère compagne" / "Non pianger, mia compagna"). The King approaches Posa. Refusing to listen to the latter's pleas for Flanders, he nevertheless places his trust in him, while advising him to beware of the Grand Inquisitor. This duologue was revised three times by Verdi.

Act 3

This Act is Act 2 in the 1883 revision

Scene 1
Evening in the Queen's garden in Madrid. Elisabeth is tired, and wishes to concentrate on the following days's coronation of the King. To avoid the divertissement planned for the evening, she exchanges masks with Eboli, assuming that thereby her absence will not be noticed (this scene was omitted from the 1883 revision). The ballet, (choreographed by Lucien Petipa and entitled "La Peregrina") took place at this point in the première.

Don Carlos 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. Posa enters and Eboli threatens them: she will tell the King that Elisabeth and Carlos are lovers. Posa tells Carlos 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 Carlos 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. Carlos bars the way, drawing his sword against the King. When no-one will disarm him, Posa steps forward asking his friend for his sword, which Don Carlos surrenders. The King rewards Posa with a dukedom. The auto-da-fe begins.

Act 4

This Act is Act 3 in the 1883 revision

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 5

This Act is Act 4 in the 1883 revision

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 is a revised version of a synopsis by Simon Holledge, first published on Opera japonica, which is quoted here by permission.]

Noted arias, Acts 3-5

(Italian & French for 4 and 5 Act version)

• "Elle ne m'aime pas" (Ella giammai m'amò) - Philip II in Act IV (Act III in four-act version), Scene 1
• "O don fatale" (O don fatal) - Princess Eboli in Act IV (Act III in four-act version), Scene 1
• "Ah, je meurs, l'âme joyeuse" (Io morrò, ma lieto in core) - Rodrigo in Act IV (Act III in four-act version), Scene 2
• "C'est mon jour suprème" (Per me giunto è il di supreme) - Rodrigo in Act IV (Act III in four-act version), Scene 2
• "Toi qui sous le néant" (Tu che le vanità conosce) - Elisabeth of Valois in Act V (Act IV in the four-act version)

Recordings

Year	Casts	Conductor, Opera House and Orchestra	Label	Version
1984	Plácido Domingo, Mirella Freni, Grace Bumbry	James Levine, Metropolitan Opera Orchestra and Chorus	Deutsche Grammophon ASIN: B000A0XS0Y	Don Carlo – 3 Act (Italian)
1986	José Carreras, Fiamma Izzo D'Amico, Agnes Baltsa	Herbert von Karajan, Salzburg Festival, Berliner Philharmoniker	Sony ASIN: B00007CVRJ	Don Carlo - 4 act (Italian)
1987	Roberto Alagna, Thomas Hampson, Karita Mattila	Antonio Pappano, Theatre du Chatelet Orchestra and Chorus	Kultur Video ASIN: B00008DDRK	Don Carlos - 5 act (Original French Version)
1994	Luciano Pavarotti, Samuel Ramey, Daniela Dessi	Riccardo Muti, La Scala Orchestra and Chorus	EMI Classics ASIN: B00020HEPW	Don Carlo - 4 act (Italian)

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

External links

• Recordings of Don Carlos
• OperaResource index: Don Carlo
• Libretto (italian)