Don Carlos - Characters, History, Highlights, Synopsis of the four act 'Milanese' version

Spanish pretender to the throne, the second son of Charles (Carlos) IV of Spain, born in Madrid, Spain. On the accession of his niece Isabella II (1830–1904) in 1833, he asserted his claim to the throne - a claim reasserted by his son, Don Carlos, Count de Montemolin (1818–61), and by the latter's nephew, Don Carlos (1848–1909). Carlist risings, whose strength lay in the Basque provinces, occurred in 1834–9 and 1872–6.

Don Carlos is an opera in five acts by Giuseppe Verdi to a French libretto by Camille du Locle and Joseph Méry, based on the dramatic play Don Carlos, Infant von Spanien by Friedrich Schiller. The first act of Don Carlos (the Fontainebleau Scene), which was removed in the shortened 1884 version, was reinstated in a subsequent 1886 Italian version.

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

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.

Highlights

"Io da vidi" (Carlo) "Dio, che nell'alma infondere" (Carlo & Sii maledetto sospetto fatale" (Filippo, Eboli, Rodrigo, Elisabetta) "O don fatale" (Eboli) "Io morrò, ma lieto in core" (Rodrigo) "Tu che le vanità" (Elisabetta)

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. Don Carlo's friend Rodrigo, Marquis of Posa, has just come from the oppressed land of Flanders. Don Carlo reveals that he loves Elisabeth.

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. Rodrigo delivers a letter from France (and secretly a note from Don Carlo).

Don Carlo asks Elisabeth to request Philip to send him to Flanders.

Act 2

Scene 1
Don Carlo has received a note, apparently from Elisabeth, suggesting a midnight meeting in the Queen's gardens. 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. When no-one will disarm him, Rodrigo steps forward asking his friend for his sword, which Don Carlo surrenders.

Act 3

Scene 1
In his study Philip laments that Elisabeth has never loved him ('Ella giammai m'amò). Elisabeth enters demanding her missing jewel case, in which the King has found a portrait of Don Carlo. Eboli feels remorse towards Elisabeth: not only has she loved Don Carlo but she has also been the King's mistress.

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. Dying, Rodrigo tells Don Carlo that Elisabeth will meet him at San Juste the following day.

Act 4

At the monastery of San Juste, Elisabeth prays before the tomb of Charles V ('Tu che le vanità').

[This synopsis by Simon Holledge was first published on Opera japonica http://www.operajaponica.org and appears here by permission.]