VERDI : DON CARLO

Radio New Zealand Concert network
Sunday 10th of May 2015 at 6.03 - 10.30 pm
Sunday 7th of April 2013 at 3.04 - 7.45 pm
Sunday 2nd of January 2011 3.04 - 8 pm
Sunday 11th of July 2010  3.04 - 7.10 pm

VERDI: Don Carlo, an opera in five acts
Verdi masterfully interweaves epic conflicts, among nations, church, and state, with the more personal concerns of loyalty, friendship, and marriage. Don Carlo(s) [Charles], the son of the Spanish king Philip II and heir to the throne, falls in love with his appointed fiancée, Elisabeth of France, and is heartbroken when she is then betrothed to his father to create an alliance to end the war between France and Spain. He and his best friend, Rodrigo, risk charges of treason to support the cause of Flemish independence
2015
Philip II............................ Ferruccio Furlanetto
Don Carlo......................... Ricardo Tamura
Rodrigo............................ Dmitri Hvorostovsky
Grand Inquistor................ James Morris
Elisabeth de Valois.......... Barbara Frittoli
Princess Eboli.................. Ekaterina Gubanova
Monk................................ Robert Pomakov
Tebaldo............................ Mary-Jane Lee
Count of Lerma................ Eduardo Valdes
Voice from Heaven.......... Heidi Stober
Metropolitan Opera Chorus & Orch/Yannick Nézet-Séguin (EBU)
 2013
Philip II............................ Ferruccio Furlanetto
Don Carlo......................... Ramón Vargas
Rodrigo............................ Dmitri Hvorostovsky
Grand Inquisitor............... Eric Halfvarson
Elisabeth........................... Barbara Frittoli
Princess Eboli................... Anna Smirnova
Thibault............................ Jennifer Check
Count of Lerma................ Eduardo Valdes
Frate................................. Miklos Sebestyén
Countess of Aremberg..... Anne Dyas
Priest Inquisitor................ Tommaso Matelli
Metropolitan Opera Chorus & Orch/Lorin Maazel

 INTRODUCTION
SYNOPSIS
REVIEW 
LIBRETTO Italian

It is hard to get a libretto with all the scenes and in the right language. I remember reading Friedrich Schiller's drama (from which this opera is derived) when I was a schoolboy aged sixteen, and the German was not easy but I got through it. Schiller's Wilhelm Tell was another hurdle I crossed at that time, to prepare myself, eventually, for Rossini's opera. And Schiller was the poet who produced the Ode to Joy, which Beethoven used in the last movement of his ninth symphony.

Verdi's opera was first performed in French as Don Carlos, in Paris, in 1867 (with a ballet included, of course). It later emerged in Italian as Don Carlo.

There are 8 scenes (excluding the ballet) divided into 5 acts. Various pieces can be omitted along the way. This is not a quiz question, but: Is Don Carlos Verdi's longest and greatest opera? Discuss.

There are some veiled themes, notably the veil (at least three occurrences). Mateship has its own musical motif, and also the Inquisition. And cruel fate: O destin fatal, o destin crudel (Oh fatal destiny, oh cruel fate), Carlo's words when the beautiful dream evaporates, at the end of Act 1, and he will not now wed Elisabeth; O don fatale, o don crudel (Oh fatal gift, oh cruel gift), Eboli fulminating against her own beauty, which Heaven bestowed on her, at the end of Act 4.2.

Historical background

In 1556, the emperor Charles V of Spain abdicated, celebrated his funeral (he was now dead to the world), and retired to a monastery. His son Philip II reigned in his stead. France and Spain were at war, but Philip's son Don Carlos was long betrothed to Elisabeth of Valois, daughter of Henri II. Spanish envoys went to Paris to sign a peace treaty and arrange a marriage to seal it.

Outline of the opera

[1] Act 1 Fontainebleau forest, Paris
No prelude. A huntsmen's chorus starts the proceedings. Enter the Spanish version of Bonnie Prince Charlie, namely Don Carlo(s), bearing his down-putting title of Infante; he tells us why he is lurking there; he wants to have a look at his bride-to-be, Princess Elisabeth, daughter of Henri II of France. Elisabeth comes in on horseback (perhaps), with the hunting party, and with her page Tebaldo (Thibault). Carlo introduces himself (he's fibbing) as a Spanish diplomat, and after discussing the impending royal wedding and finding that the princess is as keen as he is, he presents a portrait of the Infante to Elisabeth, and all is revealed. They declare their (at-first-sight) love to each other.

A cannon is fired in the distance and the castle is lit up. It means that peace between the two nations is sealed, and so the love-duet continues to the point of ecstatic inebriation.

Thibault appears and hails Elisabeth as Queen, but then adds that she is the spouse of King Philip. There must be some mistake, she was promised to the Infante. No, she will marry the father not the son. Elisabeth has no choice. An abyss opens for the lovers, and they sink into despair.

The real Spanish ambassador comes along, with the ladies and gentlemen of the court rejoicing in chorus over the arrangement, while Carlo and Elisabeth lament their fatal destiny, their cruel fate.

[2] Act 2.1 The cloister of the monastery at dawn
Monks sing in mourning for Charles V at his tomb. His grandson Carlo comes, seeking peace in vain. A Friar tells him earthly sorrow does not vanish in the cloister; Carlo thinks it is the old emperor himself speaking to him.

Rodrigo/Rodrigue, the Marquis of Posa, joins Carlo, and tells him he should lead the oppressed Flemish people to freedom. But Carlo is weighed down with his private burden of guilt: his love for his 'mother'. The solution is for Carlo to be go to Flanders (and fight in the Spaniish civil war, or whatever); it is a battle by Protestants against Catholic domination; later there will be a plan to have him installed as governor.

Mother and Father pass through without a word, bowing the knee at the tomb. This lets us know the Queen is here, the only woman allowed to enter the monastery.

In a noble duet, to a tune that will become a recurring theme, the lads swear eternal mateship.

[3] Act 2.2 Outside the monastery
The Queen's ladies are amusing themselves. Princess Eboli sings them the Song of the Veil, in which a Moorish king courts a veiled lady, promising her she could reign with him; he finally realizes she is his own wife.

Elisabeth comes out, and Thibault announces the Marquis of Posa. He has a letter from her mother (and a secret note from Carlo). While Rodrigo/Posa and Eboli chat about the gossip from Paris and the fashions, Elisabeth reads the note. Rodrigo asks Elisabeth to give Carlo a hearing; Eboli muses over the possibility that Carlo might be in love with her, since she once saw him trembling while they were both standing with his 'mother' (this feeling could develop into jealousy!).

Elisabeth sends her ladies away, and Carlos approaches her with his request to be sent to Flanders. When she addresses him as her 'son' (figlio) and treats him with feigned coolness, his emotions overwhelm him and he faints. But he recovers and pours out his love on her. But she points out that he will have to kill his father if he wishes to lead his 'mother' to the altar. Carlo flees in anguish.

The King comes in with his retinue, and demands to know why the Queen is unattended. The poor Countess of Aremberg, for her dereliction of duty as lady-in-waiting, is to be sent back to France. Elisabeth consoles her in song (Aremberg never sings a note), and gives her a ring.

Philip has a private audience with Rodrigo: he reports on the horrors in Flanders, but Philip dismisses his concerns, saying that is how a ruler keeps the peace; Rodrigo warns him that posterity might compare him to Nero; Philip responds with a warning that the Grand Inquisitor might be listening, then he confesses his own family problems, and his suspicions about his son and spouse, and in effect commissions Rodrigo to spy on them, again telling him to beware of the Inquisition. (Already there is a whiff of burning flesh.)

[4] Act 3.1 The Queen's garden, Madrid, moonlight, midnight
Now we can have a pretty prelude. Carlos has received an assignation note, presumably from Elisabeth, and he now meets a veiled lady (remember who told a veil tale?); they both become passionate in loving, till the veil comes off and Eboli is revealed.

Carlo tries to cover his reaction of dismay, while Eboli warns him that Philip and Rodrigo are watching him. She suddenly realizes it is Elisabeth he loves. Rodrigo enters and remonstrates with her; a dagger is drawn to threaten her, but she goes off to get her revenge. Rodrigo asks Carlo to hand over any incriminating documents he may have. Listen for the mateship motif.

[5] Act 3.2 A cathedral square in Madrid
Here Verdi practises for the grand march in Aida (his next opera) with a rejoicing populace and a solemn procession of monks: an auto-da-fé (burning of heretics) and a public appearance by the King are on the day's program. Flemish petitioners plead for mercy for their country. Carlo takes the opportunity to ask for the governorship of Flanders and Brabant. He is rebuffed. He foolishly draws his sword and vows to be the saviour of the Flemish people. Rodrigo has to disarm him, and the King dubs him Duke with it. Carlos is arrested and taken away to prison.

And so the entertainment continues. Philip leads Elisabeth by the hand to gaze at the bonfire (originally 'bone-fire') and to watch the bad 'guys' burn. If the heretics repent as they die, they may be permitted into Paradise. Amid the general exultation (sheer Schadenfreude) a voice comes from above: Volate verso il ciel, volate, poveri alme, volate a goder la pace del Signore (Fly up to Heaven, poor souls, to enjoy the peace of the Lord).

[6] Act 4.1 The King's study, early morning
Philip has had a bad night. First the aria 'She has never loved me'. Then the terrifying duet with the Grand Inquisitor, who is ninety, blind, a base bass, and led in by two Dominican monks. How should he deal with his son's rebellion? Kill him; God sacrificed his own son so that we might be redeemed. And Rodrigo of Posa is a heretic, so hand him over. The frightful friar leaves muttering threats of doom.

Elisabeth bursts in, in dire distress; her jewel casket has been stolen; Philip produces it and opens it; a portrait of Carlo greets his bleak gaze; he has an adulterous wife, he concludes. She faints. Eboli and Rodrigo are summoned to assist.

Here begins a grand quartet: Eboli is distraught for causing this trouble (and did I tell you she has been in the King's bed also?); Philip is not so sure of infidelity on his wife's part; Elisabeth sees no hope for her on Earth, only in Heaven; Rodrigo contemplates offering his life to save his friend.

Confrontation between the princesses: she confesses to stealing the casket, to having loved Carlos herself, and to being guilty of the same adulterous sin as she had accused the Queen of committing. Get thee to a nunnery (that is, don the veil!) or go into exile.

Eboli's great solo and soliloquy, now: O don fatale, o don crudele. As noted earlier, the 'don' is not Don Carlo, but the 'gift' of beauty bestowed on her (and there is no connection with the veil she will 'don'); but before she enters a convent she will try to save the Don's life.

[7] Act 4.2 Underground prison
Rodrigo visits Carlos. The prince's love for Isabella (Elisabeth) is torturing him. But the fatal documents have been found in Rodrigo's possession, so he will get the chop, while Carlo flees to Flanders. (Dear listener, be prepared for the assassin's gunshot!), Dying, Posa tells Carlo to meet Elisabeth (his 'mother') next day at the chapel in the monastery.

Philip offers Carlo's sword to him; it is refused, because he had killed Carlo's best friend. The prison fills up with the voices of people screaming for Carlo's release, and then they come pouring in. Eboli , masked, is among them, and she somehow directs Carlo to safety. The Grand Inquisitor reduces the rabble to silence.

[8] Act 5 The cloisters, night, moonlight
Elisabeth prays at the tomb. Carlo and she will both do their duty and part. He: Addio, mia madre. She: Mio figlio, addio.

The Inquisitor orders guards to seize Carlo, but the mysterious Friar, now in royal robes, rescues Carlo, leaving everybody else amazed and exclaiming, 'It is Charles the Fifth' (or 'It is the voice of Charles', says the Inquisitor).

What???

Sunday 2nd of January 2011 3.04 - 8 pm
 VERDI: Don Carlo, an opera in five acts
Philip II......................... Ferruccio Furlanetto
Don Carlo..................... Yonghoon Lee
Rodrigo......................... Simon Keenlyside
Grand Inquisitor............ Eric Halfvarson
Elisabeth....................... Marina Poplavskaya
Princess Eboli................ Anna Smirnova
Monk............................ Alexei Tanovitsky
Tebaldo........................ Layla Claire
Voice from Heaven....... Jennifer Check
Count of Lerma............. Eduardo Valdes
Metropolitan Opera Chorus & Orch
Yannick Nézet-Séguin (EBU)

Sunday 11th of July 2010  3.04 - 7.10 pm

VERDI: Don Carlo, an opera in five acts
Don Carlo..................... Jonas Kaufmann
Elisabeth....................... Marina Poplavskaya
Rodrigo......................... Simon Keenlyside
Eboli............................. Marianne Cornetti
Philip II......................... Ferruccio Furlanetto
Grand Inquistor............. John Tomlinson
Thibault......................... Pumeza Matshikiza
Voice from Heaven....... Eri Nakamura
Count of Lerma............. Robert Anthony Gardiner
Carlos V....................... Robert Lloyd
Chorus and Orchestra of the Royal Opera House, Covent Garden/Semyon Bychkov (BBC)
Obsolete Metropera links.

COMPOSER 

BACKGROUND 

UNDERGROUND

CHARACTERS

SYNOPSIS

STORYLINE

ANALYSIS

New York Metropolitan Opera broadcast
Radio New Zealand, Concert FM
http://www.radionz.co.nz/cfm/home
Sunday 21st of January 2007 at 3 pm