Don Carlo (it.)

Synopsis

 

Act 1

 

The Forest of Fontainebleau, France in winter

A prelude and chorus of woodcutters and their wives is heard. They 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, Infante and son of Philip II, King of Spain, will bring the war to an end, and departs.

 

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. She asks him about Don Carlos, whom she has not yet met. Before long, Carlos reveals his true 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. Thibault appears and gives Elisabeth the surprising news that her hand is to be claimed not by Carlos but by his father, Philip. When Lerma and his followers confirm this, Elisabeth is devastated but feels bound to accept, in order to consolidate the peace. She departs for Spain, leaving Carlos equally devastated.

 

Act 2

 

Scene 1: The monastery of Saint-Just (San Jerónimo de Yuste) in Spain

The scene takes place some time after Philip II and Elisabeth are married. Monks pray for the soul of the former Emperor Charles V ("Carlo Quinto"). His grandson Don Carlos enters, anguished that the woman he loves is now his stepmother.

[In the 1883 revision, he sings a revised version of the aria "Je l'ai vue" / "Io la vidi", which was salvaged from the omitted first act but with some different music and different text to reflect his current situation. In the four-act version he already knows that he cannot marry Elisabeth. In the original, when singing the aria, he was still expecting to marry her]

A monk resembling Carlo Quinto offers him eventual consolation of peace through God, an early herald of one of the opera's themes. Carlos greets his great friend Rodrigue, Marquis of Posa, who has just arrived from the oppressed land of Flanders (Aria: "J'étais en Flandres").

Posa asks for the Infante's aid on behalf of the suffering people there. Carlos reveals that he loves his stepmother. Posa is sympathetic but 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 also to do homage at Charles V's tomb, while Don Carlos laments his lost love.

Scene 2: 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 gives her a letter from France together, secretly, with 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. Unaware of this relationship, Eboli infers that she, Eboli, is the one Don Carlos loves.

When they are alone, Don Carlos tells Elisabeth that he is miserable, and asks her to request Philip to send him to Flanders. She promptly agrees, provoking Carlos to renew his declarations of love, which she piously rejects. Don Carlos exits in a frenzy, shouting that he must be under a curse. The King enters and becomes angry because the Queen is alone and unattended. He orders the lady-in-waiting who was meant to be attending her, the Countess of Aremberg, to return to France, prompting Elizabeth to sing a sorrowful goodbye-aria. (Aria: "Oh ma chère compagne" / "Non pianger, mia compagna"). The King approaches Posa, with whose character and activism he is impressed, intent on rewarding him. Posa begs the King to stop oppressing the people of Flanders. The King calls Posa's idealism unrealistic and warns that the Grand Inquisitor is watching him; Philip nevertheless asks if he can grant Posa another request.

[This dialogue was revised three times by Verdi.]

 

Act 3

 

Scene 1: Evening in the Queen's garden in Madrid

Elisabeth is tired, and wishes to concentrate on the following day'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, and leaves.

 

Don Carlos enters, clutching a note suggesting a tryst in the gardens. Although he thinks this is from Elisabeth, it is really from Eboli, to whom he mistakenly declares his love. When Eboli discloses her identity and that she now knows his secret - that he was expecting the Queen - Carlos is horrified. When Posa enters, she threatens to tell the King that Elisabeth and Carlos are lovers. Eboli only just escapes from being stabbed by Posa, on Carlos's intervention, and exits in a vengeful rage. Just in case, Posa asks Carlos to entrust to him any sensitive political documents that he may have and, when Carlos agrees, they reaffirm their friendship.

Scene 2: In front of the Cathedral of Valladolid

Preparations are being made for an "Auto-da-fé", the public parade and burning of condemned heretics. While the people celebrate, monks drag the condemned to the woodpile. A royal procession follows, with the King addressing the populace. Don Carlos interrupts it by bringing forward six Flemish envoys, who plead with the King for their country's freedom. Although the people and the court are sympathetic, the King, supported by the monks, orders the deputies' arrest. Carlos draws his sword against the King. The King calls for help but the guards will not attack Don Carlos. Posa steps in and takes the sword from Carlos. The King uses it to dub Posa Duke, the woodpile is fired and, as the flames start to rise, a heavenly voice can be heard promising heavenly peace to the condemned souls.

 

Act 4

 

Scene 1: Dawn in King Philip's study in Madrid

Alone, the King, in a reverie, laments that Elisabeth has never loved him, that his position means that he has to be eternally vigilant and – returning to a central theme – that he will only sleep properly when he is in his tomb in the Escorial (Aria: "Elle ne m'aime pas" / "Ella giammai m'amò"). The blind, ninety-year-old Grand Inquisitor is announced and shuffles into Philip's apartment. When the King asks if the Church will object to him putting his own son to death, the Inquisitor replies that the King will be in good company: God sacrificed His own son. In return for his support, the Inquisitor demands that the King have Posa killed. The King refuses to kill his friend, whom he admires and likes, objecting to such wanton cruelty. However, the old monk reminds Philip that the Inquisition can take down any king; he has created and destroyed other rulers before. Somewhat taken aback, the King suggests the Grand Inquisitor forget about the past discussion. The latter replies "Peut-être" / "Forse!" – perhaps! – and leaves. In a moment of continuing high drama, Elisabeth enters, alarmed at the apparent theft of her jewel casket. However, the King produces it and points to the portrait of Don Carlos which it contains, accusing her of adultery. She protests her innocence but, when the King threatens her, she faints. In response to his calls for help, into the chamber come Eboli and Posa. Their laments of suspicion ("Maudit soit le soupçon infâme" / "Ah, sii maledetto, sospetto fatale"), cause the King to realise that he has wronged his wife. Posa then resolves to save Carlos, though it may mean his own death. Eboli feels remorse for betraying Elisabeth; the latter, recovering, expresses her despair.

[This quartet was revised by Verdi in 1883]

Elisabeth and Eboli are left together.

[Duet: "J'ai tout compris", was cut before the première]

Eboli confesses that not only did she steal the casket because she loved Carlos and that he had rejected her, but also because she has been the King's mistress. Elisabeth takes this in her stride and tells Eboli that she must go into exile or enter a convent. After she exits, Eboli curses the fatal pride that her beauty has bestowed on her, chooses the convent over exile and resolves to try and save Carlos from the Inquisition (Aria: "O don fatal" / "O don fatale").

Scene 2: A prison

Don Carlos has been imprisoned. Posa arrives to tell him that he will be saved but that he himself will have to die, incriminated by the politically sensitive documents which he had asked Carlos to entrust to him (Aria, part 1: "C'est mon jour suprême" / "Per me giunto è il dì supremo"). A shadowy figure appears and shoots Posa in the chest. As he dies, Posa tells Carlos that Elisabeth will meet him at Saint-Just the following day. He adds that he is content to die if his friend can save Flanders and rule over a happier Spain (Aria, part 2: "Ah, je meurs, l'âme joyeuse" / "Io morrò, ma lieto in core"). At that moment, Philip enters, offering his son freedom. Carlos repulses him for having murdered Posa. The King has not noticed that Posa is dead and cries out in sorrow.

[Duet: Carlos and the King- "Qui me rendra ce mort ?" /"Chi rende a me quest'uom" It was cut before the première and, following it, Verdi authorized its optional removal. The music was later re-used by Verdi for the Lacrimosa of his Messa da Requiem of 1874]

Bells ring as Elisabeth, Eboli and the Grand Inquisitor arrive. The crowd threatens the King, demanding the release of Carlos and, in the confusion, Eboli escapes with Carlos. Although the people are brave enough in the presence of the King, they are terrified by the Grand Inquisitor, instantly submitting to his angry command to quieten down and pay homage to Philip.

[After the première, some productions ended this act with the death of Posa. However, in 1883 Verdi provided a much shortened version of the insurrection, as he felt that otherwise it would not be clear how Eboli had fulfilled her promise to rescue Carlos]

 

Act 5

 

The moonlit monastery of Yuste

Elisabeth kneels before the tomb of Charles V. She is committed to help Don Carlos on his way to fulfill his destiny in Flanders, but she herself longs only for death (Aria: "Toi qui sus le néant" / "Tu che le vanità"). Carlos appears and they say a final farewell, promising to meet again in Heaven (Duet: "Au revoir dans un monde où la vie est meilleure" / "Ma lassù ci vedremo in un mondo migliore").

[This duet was twice revised by Verdi]

Philip and the Grand Inquisitor enter. The King has submitted to the church's domination and declares that there will be a double sacrifice: Posa and Carlos. The Inquisitor confirms that the Inquisition will do its duty. A short summary trial follows, confirming Carlos's putative culpability.

[The trial was omitted in 1883]

Carlos, calling on God, draws his sword to defend himself against the Inquisitor's guards, when a mysterious figure (the Monk) suddenly emerges from the tomb of Charles V. He grabs Carlos by the shoulder, proclaiming that the turbulence of the world persists even in the Church; once again, we cannot rest except in Heaven. Philip and the Inquisitor recognize the Monk's voice: he is the King's father, Charles V. Everyone screams in shock and terror, while the Monk drags Carlos into the tomb and closes the entrance.

Program and cast

Conductor: Jonathan Darlington

Philip II: René Pape

Don Carlo: Fabio Sartori

Rodrigo: Simon Keenlyside

The Grand Inquisitor: Dmitry Ulyanov

Elisabeth of Valois: Anja Harteros

Princess Eboli: Elena Zhidkova

 

Directed by Daniele Abbado

Stage design: Graziano Gregori

Stage: Angelo Linzalata

Costumes: Carla Teti

Light: Alessandro Carletti

Director: Boris Stetka

Choreography: Simona Bucci

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September 2019
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Vienna State Opera

Public Transport
 

Subway lines: U1, U2, U4
Trams: 1, 2, D, J, 62, 65
Buses: 59A
Local Railway: Badner Bahn
Stops: Karlsplatz / Opera

Taxi stands are available nearby.
 

Parking



Parking is only € 6, - for eight hours!

The Wiener Staatsoper and the ÖPARK Kärntner Ring Garage on Mahlerstraße 8, under the “Ringstraßengalerien”, offer the patrons of the Vienna State Opera a new, reduced parking fee. You can park in the Kärntner Ring Garage for up to 8 hours and pay only a flat fee of € 6, -. Just validate your ticket at one of the discount machines inside the Wiener Staatsoper. The normal rate will be charged for parking time greater than 8 hours. The validation machines can be found at the following coat checks: Operngasse, Herbert von Karajan-Platz, and the right and left and balcony galleries.

Important: In order to get the discount, please draw a ticket and do not use your credit card when entering the garage!

After devaluing your ticket in the Wiener Staatsoper you can pay comfortably by credit card or cash at the vending machines.

The machines accept coins and bills up to 50.- Euro. Parking time longer than 8 hours will be charged at the normal rate.
 

History



The structure of the opera house was planned by the Viennese architect August Sicard von Sicardsburg, while the inside was designed by interior decorator Eduard van der Nüll. It was also impacted by other major artists such as Moritz von Schwind, who painted the frescoes in the foyer, and the famous "Zauberflöten" (“Magic Flute”) series of frescoes on the veranda. Neither of the architects survived to see the opening of ‘their’ opera house: the sensitive van der Nüll committed suicide, and his friend Sicardsburg died of a stroke soon afterwards.

 

On May 25, 1869, the opera house solemnly opened with Mozart's Don Giovanni in the presence of Emperor Franz Joseph and Empress Elisabeth.
The popularity of the building grew under the artistic influence of the first directors: Franz von Dingelstedt, Johann Herbeck, Franz Jauner, and Wilhelm Jahn. The Vienna opera experienced its first high point under the direction of Gustav Mahler. He completely transformed the outdated performance system, increased the precision and timing of the performances, and also utilized the experience of other noteworthy artists, such as Alfred Roller, for the formation of new stage aesthetics.

 

The years 1938 to 1945 were a dark chapter in the history of the opera house. Under the Nazis, many members of the house were driven out, pursued, and killed, and many works were not allowed to be played.

 

On March 12, 1945, the opera house was devastated during a bombing, but on May 1, 1945, the “State Opera in the Volksoper” opened with a performance of Mozart's THE MARRIAGE OF FIGARO. On October 6, 1945, the hastily restored “Theaters an der Wien” reopened with Beethoven's FIDELIO. For the next ten years the Vienna State Opera operated in two venues while the true headquarters was being rebuilt at a great expense.

 

The Secretary of State for Public Works, Julius Raab, announced on May 24, 1945, that reconstruction of the Vienna State Opera would begin immediately. Only the main facade, the grand staircase, and the Schwind Foyer had been spared from the bombs. On November 5, 1955, the Vienna State Opera reopened with a new auditorium and modernized technology. Under the direction of Karl Böhm, Beethoven’s FIDELIO was brilliantly performed, and the opening ceremonies were broadcast by Austrian television. The whole world understood that life was beginning again for this country that had just regained its independence.

 

Today, the Vienna State Opera is considered one of the most important opera houses in the world; in particular, it is the house with the largest repertoire. It has been under the direction of Dominique Meyer since September 1, 2010.

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