Giuseppe Verdi

Don Carlo

Cancelled | March 27(m), 31, April 3(m), 2021

NOTE: Performances originally planned for March 20-28, 2020, and later rescheduled for March 27-April 3, 2021. All performances were cancelled due to the COVID-19 pandemic.

Father against Son. Catholic against Protestant. Friend against Friend.

If you’re longing for thrilling music combined with searing drama, then nobody does it better than Verdi. The terrors of the Spanish Inquisition are raging, and so are personal and political passions. France’s princess Elizabeth is forced to marry Philip, King of Spain, forsaking her beloved Don Carlo—the firebrand who turns out to be her husband’s own son! Add to the mix the terrifying Grand Inquisitor and the King’s duplicitous mistress, and the stage is set for an explosive amalgam of sex, politics, and religion. Projections by Spanish masters Goya and Berruguete provide the mesmerizing backdrop for our internationally-celebrated cast. Maestro Emmanuel Villaume conducts The Dallas Opera Orchestra and Chorus for this remarkable musical and theatrical event!

Sung in Italian with English Supertitles PG-13

Tickets are no longer available to this event.

Cast

Leah Crocetto

Elizabeth de Valois

Jamie Barton

Princess Eboli

Gwyn Hughes Jones

Don Carlo

Lucas Meachem

Rodrigo

David Leigh

Philip II

Morris Robinson

The Grand Inquisitor

Andrew Gilstrap

A Monk (Friar)

Gabrielle Gilliam

The Heavenly Voice

Gretchen Krupp

Tebaldo

Christopher A. Leach

Count Lerma/The Royal Herald

Creative Team

Conductor

Emmanuel Villaume

Director

Edward Berkeley

Lighting Designer

Krista Billings

ACT ONE

In the monastery of San Juste, monks pray at the tomb of Holy Roman Emperor Charles V. Don Carlo comes to lament his ill-starred love for Elisabeth de Valois, who, for reasons of state, has been married to Carlo’s father, King Philip II. He is joined by his friend Rodrigo, Marquis of Posa, who urges Carlo to forget his private grief and join him in Flanders to aid the Protestant population there, oppressed by Philip’s Catholic regime.

Awaiting the queen, Princess Eboli amuses the ladies of the court by singing the Veil Song, about a Moorish king and a veiled beauty who turns out to be his neglected queen. When Elisabeth joins them, Rodrigo brings the queen a letter from her mother. He also gives her another note, a request from Don Carlo for a private audience, and distracts Eboli (who thinks Carlo is in love with her) while Elisabeth reads it. She agrees to see Carlo and dismisses her ladies.

Carlo asks Elisabeth to help him gain Philip’s consent to leave for Flanders. He cannot refrain from speaking also of their past love. Alarmed by the dangerous change in subject, Elisabeth tells him that, as queen, she must remain aloof, but admits that to live beside him would seem like paradise. Overwhelmed, Carlo sinks to the ground. When he regains consciousness and attempts to embrace her, she breaks away. Carlo flees in despair.

Philip arrives to find his queen unattended, and angrily banishes her lady-in-waiting, the Countess of Aremberg, for neglecting her duty. The queen bids her friend a somber farewell. Rodrigo lingers behind with the king and begs him to adopt a more tolerant policy toward his Flemish subjects. Philip refuses and warns Rodrigo to beware of the Grand Inquisitor. Nevertheless, he is impressed with this young man who seeks nothing for himself; he confides to Rodrigo his jealous suspicions about Don Carlo and the queen.

ACT TWO

Don Carlo comes to the garden in response to an unsigned note which he believes is from Elisabeth. However, the letter is from Eboli, who arrives dressed in a veil. Mistaking her for the queen, Carlo passionately declares his love. Enraptured, the princess uncovers her face; she quickly realizes, however, that his ardent speeches were not for her. Rodrigo enters and tries to undo Don Carlo’s indiscretion. Eboli, furious, threatens to tell the king that Elisabeth and Carlo are lovers. Rodrigo tells the imperiled Don Carlo to entrust him with any sensitive political documents in his possession.

The Spanish populace and royal court assemble to witness an auto-da-fé, in which those condemned by the Inquisition are to be burned to death. Don Carlo approaches his father with a group of Flemish deputies who have come to plead for clemency. Philip is unmoved by their entreaty. Carlo infuriates his father by continuing the discussion, asking that the rule of Flanders be entrusted to him. Seeing that words are of no use, Carlo draws his sword. Philip calls for his guards and nobles to disarm the defiant prince, but no one moves to obey him. Finally, Rodrigo steps forward and asks Carlo for his sword, which he then gives to the king. Philip leads his wife to the auto-da-fé as guards remove Carlo to prison. In the distance, a heavenly voice is heard in prayer for the souls of the condemned.

ACT THREE

Philip has spent the entire night in his study in melancholy reverie. His queen, he realizes, never loved him. Don Carlo, whom he suspects of an illicit love for Elisabeth, has now committed open treason against him. The Count of Lerma announces the arrival of the Grand Inquisitor, whom Philip has summoned to discuss Carlo’s punishment. The blind, aged man is led into the king’s presence. Philips hesitates to invoke the death penalty against his son, but the Grand Inquisitor absolves Philip in advance of all guilt, pointing out that God sacrificed His own son for the redemption of the world. The Grand Inquisitor then denounces Rodrigo as a heretic for his efforts on behalf of Flanders; he demands Rodrigo’s death. Philip defends Rodrigo, the only man in his court he can trust. The Inquisitor accuses the king himself of failing in his duty before the Holy Office. Philip’s will collapses; he abandons Rodrigo’s defense.

Elisabeth bursts in: a box containing her jewels and personal effects has been stolen. Philip points to the box, which is on his table, and asks her to open it. When she refuses, he breaks it open and finds a portrait of Carlo inside. Elisabeth defends her innocence in the face of Philip’s fury, but faints when he accuses her of adultery. When Philip calls for help, Eboli and Rodrigo rush into the room. As Eboli looks after the queen, each is troubled by private thoughts. Philip realizes that he has not been betrayed; Eboli repents of her treachery now that she sees its results; Rodrigo resolves that he must sacrifice himself for Spain. When Elisabeth recovers, Philip and Rodrigo withdraw. Eboli confesses to the queen that it was she who gave the jewel box to Philip, in reprisal for being spurned by Carlo. Elisabeth forgives her. Eboli’s contrition also forces her to admit that she herself has committed adultery with Philip. At that, Elisabeth commands Eboli to choose either exile or the cloister. Alone, Eboli resolves to save Don Carlo’s life before she seeks peace in a convent.

Rodrigo comes to Don Carlo’s prison cell to say farewell. He has obtained Carlo’s freedom by claiming ownership of the incriminating papers Carlo gave him. Carlo protests, but Rodrigo is adamant. He is sacrificing himself so that Carlo may live, reign and save Flanders. Suddenly, a gunshot sounds and Rodrigo falls. Mortally wounded, he tells Carlo that Elisabeth knows everything and will meet Carlo the next day at the monastery of San Juste. As he dies, he enjoins Carlo once more to save Flanders. Philip enters to free Carlo, but Carlo turns on him, bitterly accusing him of complicity in Rodrigo’s death. A courtier rushes in to tell Philip that an angry mob has gathered, demanding Carlo’s freedom. Philip orders the gates thrown open, and the mob fills the room. In the confusion, Eboli, disguised, urges Carlo to flee. The Grand Inquisitor appears and invokes the power of God to quell the disturbance.

ACT FOUR

Waiting in the monastery, Elisabeth kneels and unburdens her heart in prayer. Don Carlo arrives for their last meeting. Rodrigo hovers in their thoughts as they speak of Don Carlo’s mission to Flanders. They formally renounce their love and dedicate themselves to their respective duties in a solemn, platonic farewell. Philip enters with the Grand Inquisitor, ready to deliver his son to the Inquisition. From the tomb of Charles V, the figure of a spectral monk emerges leading Don Carlo away into the darkness of the tomb and death.

Synopsis courtesy of Lyric Opera of Chicago

On CD:

Carlo Bergonzi, Renata Tebaldi, Grace Bumbry, Dietrich Fischer-Dieskau, Nicolai Ghiaurov, Martti Talvela; cond. Sir Georg Solti (Decca label)

The first commercial recording to include all five acts of the opera. Decca cast it sumptuously, with the principals headed by Bergonzi and Tebaldi, two artists who enjoyed a very special artistic partnership. With the elegance of Fischer-Dieskau, the fire of Bumbry, and the grandeur of both Ghiaurov and Talvela, this is Verdi singing of a very high order indeed, with the passionate Solti providing high drama in the pit.

Michael Sylvester, Aprile Millo, Dolora Zajick, Vladimir Chernov, Ferruccio Furlanetto, Samuel Ramey; cond. James Levine (Sony label)

Here is a typical example of the outstanding level of Verdi performance one would have encountered at the Metropolitan Opera in the mid-1990s. The house’s chorus and orchestra are in splendid form under Levine’s authoritative leadership, and major stars take all the key roles. Particularly notable are the two ladies and also Chernov, who were all at their vocal peak at the time. It’s also thrilling to hear Philip/Inquisitor confrontation performed by artists with the grand-scale vocal presence of Furlanetto and Ramey.

Eugenio Fernandi, Sena Jurinac, Giulietta Simionato, Ettore Bastianini, Cesare Siepi, Marco Stefanoni; cond. Herbert von Karajan (Deutsche Grammophon label)

A legendary Salzburg Festival performance, graced by several of the most celebrated native-Italian Verdi interpreters of the ‘50s and ‘60s. The non-Italian presence here is Jurinac, the Croatian soprano whose exquisitely womanly sound and profound expressiveness are unforgettable. Add to that portrayal the elegant Siepi, electrifying Simionato, deeply soulful Bastianini, and passionate Fernandi (an underrated singer, here giving the performance of his life), all under the magisterial baton of Karajan. If you know this opera, you’ll be bothered by the numerous substantial cuts in the score, but if you can accept that, you’ll want to immerse yourself totally in a very special experience.

On DVD:

Jonas Kaufmann, Anja Harteros, Ekaterina Semenchuk, Thomas Hampson, Matti Salminen, Eric Halfvarson; cond. Antonio Pappano, dir. Peter Stein (Sony label)

There’s strength throughout this starry cast, recorded at the 2013 Salzburg Festival. All the artists are exceptional musicians and skilled actors, responding in depth to Peter Stein’s thoughtful staging. Leading the way is Kaufmann in the title role, which he projects with the utmost sensitivity while singing sensationally. Everyone else is working on that same exalted level – including the incomparable Vienna Philharmonic under Pappano, one of today’s most impressive Verdians. The sets are comparatively austere by comparison to other productions on DVD, but the handsome period costumes compensate.

Roberto Alagna, Karita Mattila, Waltraud Meier, Thomas Hampson, José van Dam, Eric Halfvarson; cond. Antonio Pappano, dir. Luc Bondy. SUNG IN FRENCH (Kultur label)

A historic performance, presenting this opera in the original French on video for the first time. It’s helpful to have on hand two native French speakers (Alagna’s Carlos and van Dam’s Philip II), and each gives a thoroughly committed, utterly believable performance. The glory of the performance is Hampson’s Posa, a portrayal that exudes nobility, courage, and passion, with impeccable singing in all his scenes. The production is quite stark, giving no distracting stage trappings to draw one’s attention away from the principals, all of whom are real actors who give 300 percent to these characters. Pappano is impeccably stylish.

James King, Pilar Lorengar, Patricia Johnson, Dietrich Fischer-Dieskau, Josef Greindl, Martti Talvela; cond. Wolfgang Sawallisch, dir. Gustav Rudolf Sellner. SUNG IN GERMAN (Arthaus Musik label)

If you don’t mind hearing Don Carlo in German translation, then this is a must, even if all the singing from the principal artists isn’t consistently effortless. The performance from Berlin’s Deutsche Oper, recorded in 1967, brings to the screen portrayals of shattering intensity—especially from Fischer-Dieskau (Posa), who is really on fire in his role, boasting a musical intelligence and a charisma given to few artists in any era. The confrontation between Greindl (Philip II) and Talvela (Grand Inquisitor) is stupendously powerful, both vocally and dramatically. King is a handsome Carlo, and the two ladies amply justify their reputations as longtime favorites of Deutsche Oper audiences. Visually it’s a comparatively spare production, but Sellner, a highly distinguished director, gets the maximum theatrical flair out of each of his remarkable principals.

Listen to TDO’s Don Carlo brilliant principal cast members on YouTube:

GWYN HUGHES JONES, tenor
Macbeth, “Ah, la paterna mano” (sung in English)

LEAH CROCETTO, soprano
Don Carlo, “Tu che le vanità” (excerpt)
Il trovatore, “Tacea la notte placida” (excerpt)

JAMIE BARTON, mezzo-soprano
Don Carlo, “O don fatale”

LUCAS MEACHEM, baritone
TDO livestream recital (begins with “Per me giunto…O Carlo, ascolta” from Don Carlo)

DAVID LEIGH, bass
Don Giovanni (sings role of the Commendatore)
(Fast-forward to 2:34:30)

At Your Bookshop or Library

Don Carlos and Mary Stuart by Friedrich Schiller (publ. Oxford World’s Classics)

If you want to prepare in a significant way before attending an opera performance, it’s always a great idea to track down the dramatic source for the libretto. In this case you have Schiller, one of the greatest of all German playwrights, whose riveting play will hugely broaden your own frame of reference for Verdi’s opera, in terms of the characters and the historical context. And as a special bonus, you also get Schiller’s Mary Stuart, the basis of the libretto of Donizetti’s Maria Stuarda.

Don Carlos/Don Carlo: English National Opera Guide 46 (publ. OneWorld Classics)

The English National Opera Guides are in a class by themselves as the absolute best English-language source to get all the background you need for specific works. The writing is invariably stellar, covering all the bases musically and dramatically, and there’s the huge value of having the libretto not only in its original language but side-by-side with an absolutely first-rate translation.

Master Musicians Series: Verdi by Julian Budden (Oxford University Press)

Julian Budden was the author of arguably the most distinguished study of the Verdi operas ever written, a three-volume masterpiece that stands as one of the enduring monuments of musical scholarship. Fortunately, for those who haven’t the time it takes to dig so thoroughly into Verdi, there’s a single volume by Budden that will fill the bill. For decades, the Master Musicians Series has provided invaluable introductions to the great composers, written concisely and with great brilliance by some of today’s leading musical authorities. Budden’s book is, not unexpectedly one of the great highlights of the series and will prepare you ideally to experience the glories of Don Carlo.

The Complete Operas of Verdi by Charles Osborne (publ. Da Capo Press)

Charles Osborne had illuminating details regarding Verdi’s life and works at his fingertips. In this book, covering the composer’s entire operatic output, Osborne is able to bring together vital information regarding the background of each work (including dramatic sources, whether plays or novels), the music itself, and the performance history. For someone who wants to absorb quickly the absolute essentials of Don Carlo and all the other great Verdi operas, the Osborne book is a real gift.

Verdi With a Vengeance: An Energetic Guide to the Life and Complete Works of the King of Opera by William Berger (publ. Vintage)

William Berger is full of invaluable information about Verdi. He also is able to bring it to the page in a wonderfully breezy style and with a truly fabulous sense of humor. You can learn a very great deal about Verdi’s life and, through Berger’s extensive commentary on the operas, what makes his works so crucial in the history of opera. Berger also gives recommendations regarding particular recordings. Learn about Verdi and have a wonderfully enjoyable time doing so!