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1630:, the public parade and burning of condemned heretics. While the people celebrate, monks drag the condemned to the woodpile. A royal procession follows, and the King addresses the populace, promising to protect them with fire and sword. Don Carlos enters with 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 his guards to arrest the envoys. Carlos demands that the King grant him authority to govern Flanders; the King scornfully refuses. Enraged, Carlos draws his sword against the King. The King calls for help but the guards will not attack Don Carlos. Rodrigue realizes that actually attacking the King would be disastrous for Carlos. He steps forward and defuses the situation by taking Carlos' sword from him. Carlos, astonished, yields to his friend without resisting. Relieved and grateful, the King raises Rodrigue to the rank of Duke. The guards arrest Carlos, the monks fire the woodpile, and as the flames start to rise, a heavenly voice can be heard promising heavenly peace to the condemned souls.
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he sees Eboli's face, he realizes his error and recoils from her. Eboli guesses his secret—that he was expecting the Queen, whom he loves. She threatens to tell the King that
Elisabeth and Carlos are lovers. Carlos, terrified, begs for mercy. Rodrigue enters, and warns her not to cross him; he is the King's confidant. Eboli replies by hinting darkly that she is a formidable and dangerous foe, with power which Rodrigue does not yet know about. (Her power is that she is having an affair with the King, but she does not reveal this yet.) Rodrigue draws his dagger, intending to stab her to death, but reconsiders, spares her, and declares his trust in the Lord. Eboli exits in a vengeful rage. Rodrigue advises Carlos to entrust to him any sensitive, potentially incriminating political documents that he may have and, when Carlos agrees, they reaffirm their friendship.
58:
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me giunto è il dì supremo"). A shadowy figure appears—one of the Grand
Inquisitor's assassins—and shoots Rodrigue in the chest. As he dies, Rodrigue 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, the King enters, offering his son freedom, as Rodrigue had arranged. Carlos repulses him for having murdered Rodrigue. The King sees that Rodrigue is dead and cries out in sorrow.
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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.
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479:(originally in Act 1) being moved to Act 3, just before the terzetto. Additionally, the duet between Philip and the Inquisitor was shortened by four lines, and Elisabeth's aria in Act 5 consisted only of part of the middle section and the reprise. The production was initially considered a success, and Verdi sent a congratulatory note to Costa. Later when he learned of the alterations, Verdi was greatly irritated, but Costa's version anticipated revisions Verdi himself would make a few years later in 1882–83.
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this place, the peace your heart hopes for is found only with God." The King and the
Inquisitor recognize the Monk's voice: he is the King's father, Charles V, who was believed dead. As the curtain slowly falls, the Monk leads the distraught Carlos into the cloister to the chanting of monks in the chapel that "Charles V, the august Emperor is naught but ash and dust." The opera concludes softly with
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chamber come Eboli and
Rodrigue. Their laments of suspicion cause the King to realize that he has been wrong to suspect his wife (Quartet: "Maudit soit le soupçon infâme" / "Ah, sia maledetto, il rio sospetto"). Aside, Rodrigue resolves to save Carlos, though it may mean his own death. Eboli feels remorse for betraying Elisabeth; the latter, recovering, expresses her despair.
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King enters and becomes angry because the Queen is alone and unattended. His suspicions are insulting to her. 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 farewell-aria. (Aria: "Oh ma chère compagne" / "Non pianger, mia compagna").
1510:
him. The King confides in
Rodrigue, telling him that he fears that Carlos is having an affair with Elisabeth. Rodrigue replies that Carlos is innocent, and offers to watch Elisabeth and to be responsible for her good behavior. The King gratefully accepts this offer, and again warns Rodrigue to beware of the Grand Inquisitor.
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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
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own son. In return for his support, the
Inquisitor demands that the King have Rodrigue killed. The King refuses at first to kill his friend, whom he admires and likes. However, the Grand Inquisitor reminds the King that the Inquisition can take down any king; he has created and destroyed other rulers
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When they are alone, Don Carlos tells
Elisabeth that he is miserable, and asks her to request the King 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
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When Carlos pauses in his lament, the leader of the monks proclaims that the turbulence of the world persists even in sacred places; we cannot rest except in Heaven. The sound of his voice frightens Carlos, who thinks it sounds like that of the
Emperor Charles V. Carlos further notices that the monk
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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
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section of the final Elisabeth-Carlos duet (replaced with an 8-bar patch). These are the only portions of the opera that were composed to an Italian rather than a French text. According to Julian Budden, Verdi "was to regret both modifications". Ricordi incorporated the revisions into later prints of
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After the première and before leaving Paris, Verdi authorised the Opéra authorities to end Act 4, Scene 2 with the death of Posa (thereby omitting the insurrection scene) if they thought fit. This was done, beginning with the second performance on 13 March, after his departure. Further (unauthorised)
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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, which
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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 were 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; and an exchange between
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in December 1886, also in Italian translation). Around 1970, substantial passages of music cut before the premiere were discovered in Paris archives, giving rise to at least one additional version that can be ascribed to Verdi: the version he prepared for the Paris Opera in 1866, before any cuts were
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Bells ring as Elisabeth and Eboli enter. The crowd pushes its way into the prison and threatens the King, demanding the release of Carlos. In the confusion, Eboli escapes with Carlos. The people are brave enough at first in the presence of the King, but they are terrified by the arrival of the Grand
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Don Carlos has been imprisoned. Rodrigue arrives and tells Carlos that he (Rodrigue) has saved Carlos from being executed, by allowing himself (Rodrigue) to be incriminated by the politically sensitive documents which he had obtained from Carlos earlier (Aria, part 1: "C'est mon jour suprême" / "Per
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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
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Stagings and broadcasts of five-act French versions of the opera have become more frequent in the later 20th and into the 21st century. Up to 1973, these productions consisted of the revised and abridged four-act score of 1882–83 prefaced by the shortened, revised Act 1 set in Fontainebleau. A radio
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found most of these other cut passages could be reconstructed from the individual parts, in which the pages with the "lost" music had been either "pasted, pinned or stitched down." In all, 21 minutes of missing music was restored. Nearly all of the known music Verdi composed for the opera, including
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Carlos, cries "Ah, God will avenge me, this tribunal of blood, His hand will crush." Defending himself, Carlos retreats towards the tomb of Charles V. The gate opens, the Monk appears, draws Carlos into his arms, covers him with his coat and sings: "My son, the pains of the earth still follow us in
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At midnight, Don Carlos enters, clutching a note suggesting a tryst in the gardens. Although he thinks this is from Elisabeth, it is really from Eboli. Eboli, who still thinks Don Carlos loves her, enters. Don Carlos mistakes her for Elisabeth in the dark, and passionately declares his love. When
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The King now approaches Rodrigue, with whose character and activism he is impressed, and offers to reward him for his loyalty and service. Rodrigue begs the King to stop oppressing the people of Flanders. The King calls Rodrigue's idealism unrealistic and warns that the Grand Inquisitor is watching
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Rodrigue asks for the Infante's aid on behalf of the suffering people there. Carlos reveals that he loves his stepmother. Rodrigue is first shocked, but then sympathetic. He encourages Carlos to leave Spain and go to Flanders, and to forget his pain by focusing on political activity there. The two
1501:
Princess Eboli sings the Veil Song ("Au palais des fées" / "Nel giardin del bello") about a Moorish King trying to seduce an alluring veiled beauty, who turns out to be his own neglected wife. Elisabeth enters. Rodrigue gives her a letter from France, which covers a secret note from Don Carlos. At
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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
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Although Verdi had accepted the need to remove the first act, it seems that he changed his mind and allowed a performance which presented the "Fontainebleau" first act along with the revised four-act version. It was given on 29 December 1886 in Modena, and has become known as the "Modena version",
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Elisabeth and Eboli are left together. Eboli confesses that it was she who told the King that Elisabeth and Carlos were having an affair, for revenge against Carlos for having rejected her. This is followed by the duet "J'ai tout compris". Eboli also confesses that she herself is guilty of that
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with du Locle, and the three proceeded to spend nine months on major revisions of the French text and the music to create a four-act version. This omitted Act 1 and the ballet, and was completed by March 1883. An Italian translation of this revised French text, re-using much of the original 1866
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Verdi; Günther 1986, pp. 498–503. The orchestral introduction to the aria 'O don fatal' was slightly revised in the 1883 version (Verdi; Günther 1986, p. 527). The rest of the aria is essentially unchanged, but printed again (on pp. 527–532 in the 1986 edition), as Andrew Porter mentions in his
1740:"). Carlos appears and tells her that he has overcome his desire for her; he now loves her honorably, as a son loves his mother. 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").
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The King and the Grand Inquisitor enter, with several armed guards. The King infers that Carlos and Elisabeth have been lovers and demands that they both be immediately killed in a double sacrifice. The Inquisitor confirms that the Inquisition will do its duty. A short summary trial follows,
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conducted a 5-act version in Italian without the ballet that included the discarded woodcutters scene, the first Carlo-Rodrigo duet in a hybrid beginning with the Paris edition but ending with the Milan revision, the discarded Elisabeth-Eboli duet from Act 4, and the Paris finale. In 1975,
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presented the missing section from the Philip-Posa duet from the end of Act 2, which he had found folded down in the conductor's copy of the score. Other pages with cuts had simply been removed from the autograph score and the conductor's copy. Shortly thereafter, the British music critic
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on 25 March 1868, and prestige productions in most other Italian opera houses followed, but it did not become a popular success. The length was a particular problem, and subsequent performances were generally heavily cut. The first production in Naples in 1871 was indisputably a failure.
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magazine, reports the ballet was "staged as 'Eboli's Dream'. She and Don Carlos are living in suburban bliss, and have Philip and Elisabeth round for a pizza, delivered by Rodrigo. Musically, the performance, apart from the Auto-da-fé scene, has a lot going for it under the direction of
514:
in 1871, Verdi was persuaded to visit the city for further performances in November / December 1872, and he made two more modifications to the score: (a) a revision of the closing two-thirds of the Philippe-Rodrigue duet in Act 2, Scene 2 (to Italian verses, almost certainly by
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For the premiere, the second eight measures of the orchestral introduction to Elisabeth's entry were omitted and the first half of the ninth measure slightly revised (Verdi; Günther 1986, p. 454–455). This change was retained in the 1883 revision (Verdi; Günther 1986, p.
1659:"). The blind, ninety-year-old Grand Inquisitor is announced and shuffles into the King'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
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presented a nearly complete five-act French version which included the 21 minutes of music cut before the premiere, but not the ballet. The 1867 version was used, since the restored music does not easily fit with the 1886 revised version. The cast included
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is an opera in five acts with ballet: if nevertheless the management of Italian theatres would like to pair it with a different ballet, this must be placed either before or after the uncut opera, never in the middle, following the barbarous custom of our
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The scene takes place soon after King Philip II and Elisabeth have married. Monks pray before the tomb of the former Emperor Charles V ("Carlo Quinto"). The monks' leader proclaims that the Emperor was proud but has been humbled through error.
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before. Frightened and overwhelmed, the King begs the Grand Inquisitor to forget about the past discussion. The latter replies "Peut-être" / "Forse!" – perhaps! – and leaves. The King bitterly muses on his helplessness to oppose the Church.
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made. No other Verdi opera exists in so many authentic versions. At its full length (including the ballet and the cuts made before the first performance), it contains close to four hours of music and is Verdi's longest opera.
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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.
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3176:
Don Carlos ("Don Carlo") in Full Score. The classic Italian translation authorized by the composer, published as DON CARLO in a revised five-act restoration, with notations for an alternative four-act version
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Verdi; Günther 1986, p. 649: "Mon fils, les douleurs de la terre nous suivent encor dans ce lieu, la paix que votre coeur espère ne se trouve qu'auprès de Dieu!" These words differ from those in the printed
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in the first half of the twentieth century were rare, but in the post Second World War period it has been regularly performed, particularly in the four-act 1884 "Milan version" in Italian. In 1950, to open
1595:
3001:
were used (Verdi; Günther 1986, p. XXXVII). The instrumentation given here is from the Dover reprint (Verdi 2011, p. xii), which states the instrumentation is from the "authoritative Ricordi edition of
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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" / "
1651:, the King, in a reverie, laments that Elisabeth has never loved him, that his position means that he has to be eternally vigilant and that he will only sleep properly when he is in his tomb in the
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379:
1489:
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827:, the Boston production was "the first performance, ever, of the immense opera that Verdi prepared in 1867; and in doing so it opened a new chapter in the stage history of the piece."
3201:. Second revision of the sources, prepared by Ursula Günther and Luciano Petazzoni. Piano-vocal score in two volumes with French and Italian text. Milan: Ricordi. Copyright 1974.
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Carlos' dear friend Rodrigue, Marquis of Posa, who has just arrived from the oppressed land of Flanders, enters. The two greet each other joyfully (Aria: "J'étais en Flandres").
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were, firstly, the introduction to Act 1 (with a chorus of woodcutters and their wives, and including the first appearance of Elisabeth); secondly, a short entry solo for Posa (
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in January 1884 in Italian translation) but also apparently approved a five-act "Modena version" in which the first act was restored but the ballet still omitted (performed in
490:, was an "instant success", and this version, although produced in Verdi's absence, was more complete and included the ballet. For the Rome premiere on 9 February 1868 at the
475:. However, it was not as Verdi desired; the opera was given in a cut and altered form, with the first act being removed, the ballet in Act 3 being omitted, and Carlo's aria
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which she accused the Queen, and has become the King's mistress. Elisabeth leaves, and the Count di Lerma orders Eboli to choose between exile or the convent, then leaves.
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The autograph score does not specify the instrumentation of the stage band, and Verdi notated the music at real pitch. For the 1867 Paris premiere, instruments made by
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conducted an expanded and modified five-act version (with Verdi's original prelude, the woodcutters' scene and the original Paris ending) in an English translation for
3436:
1683:
Eboli, left alone, curses her own beauty and pride, and resolves to make amends by trying to save Carlos from the Inquisition (Aria: "O don fatal" / "O don fatale").
306:
The opera was first published as given at the première and consisted of Verdi's original conception, without the music of the above-named cuts, but with the ballet.
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in London in 1996 used Andrew Porter as a consultant and was a "judicious mixture" of music from the 1866 original and the 1883 revision. The production, staged by
447:
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It was common practice at the time for most theatres (other than those in French-speaking communities) to perform operas in Italian, and an Italian translation of
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in November/December 1872. Verdi was also responsible for a short four-act "Milan version" in which the first act was removed and the ballet omitted (performed in
3421:
2720:
846:. Julian Budden comments that "this was the first complete performance of what could be called the 1866 conception in French with the addition of the ballet."
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Verdi; Günther 1986, p. 651: "Charles Quint, l'auguste Empereur n'est plus que cendre et que poussière." These words differ from those in the printed libretto.
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and performed in Vienna in October 2004, included all of the music excised during the Paris rehearsal period plus the ballet. Patrick O'Connor, writing in the
494:, perhaps unsurprisingly, the Papal censor changed the Inquisitor into a Gran Cancelliere (Grand Chancellor) and the Monk/Emperor into a Solitario (Recluse).
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as the Grand Inquisitor. This version was performed there until 1972. The four-act version in Italian continued to be championed by conductors such as
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805:
4573:
1581:
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410:
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Don Carlos, edizione integrale delle varie versioni in cinque e in quattro atti (comprendente gli inediti verdiani a cura di Ursula Günther)
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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.
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After the discovery of music cut before the premiere, conductors began performing five-act versions that included some of it. In 1973 at
849:
Several notable productions of five-act French versions have been mounted more recently. A five-act French version was performed by the
767:
Today, as translated into Italian and presented in four-act and five-act versions, the opera has become part of the standard repertory.
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Patrick O'Connor (January 2008). "Verdi, Don Carlos. Verdi's music gets respect but visually this 'complete' Carlos is incomplete..."
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2470:
2298:
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1963:
865:, was also shared with the opera houses in Brussels, Nice and Lyon. The performance by the Paris cast (March 1996), was conducted by
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57:
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as Eboli, Andrea Silvestrelli as Philippe II, and Daniel Sumegi as the Grand Inquisitor. The production was taken on tour to
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planned for the evening, she exchanges masks with Eboli, assuming that thereby her absence will not be noticed, and leaves.
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as Eboli. The Metropolitan Opera presented the opera in French for the first time in 2022 in the Modena version, with tenor
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Flemish envoys, Inquisitors, Ladies and Gentlemen of the Spanish Court, the people, Pages, Guards, Monks, Soldiers – chorus
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2037:
Kimbell 2001, p. 1002, notes that "some of the deleted material from this served as the seed for the 'Lacrymosa' in the
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cuts were apparently made during the remaining performances. Despite a grandiose production designed by scenic artists
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the pre-première cuts and later revisions, can be found in an integral edition prepared by the German musicologist
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2067:
546:
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2646:"Review: Brandon Jovanovich Triumphant in Historic “Don Carlos” Production – Houston Grand Opera, April 13, 2012"
370:(Act IV), it appears to have been a "problem opera" for the Opéra—it disappeared from its repertoire after 1869.
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303:) in Act 2, Scene 1; and, thirdly, part of the dialogue between the King and Posa at the end of Act 2, Scene 2.
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3232:. Chicago: The University of Chicago Press (1982 paperback reprint with a new introduction by Philip Gossett).
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broadcast by ORTF in France was given in 1967 with a nearly all-French cast, with the exception of the Italian
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as Elizabeth. This version has increasingly been performed elsewhere and has been recorded by, among others,
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physically resembles the Emperor, and recalls hearing rumors that the Emperor's ghost haunts the monastery.
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in October 1867, also in Italian translation. After some revisions by Verdi, it was performed in Italian in
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3186:. Dover states this is an unabridged republication of the work published by G. Ricordi, Milan, undated, as
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Elisabeth is tired, and wishes to concentrate on the following day's coronation of the King. To avoid the
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31:
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Kimbell 2001, in Holden p. 1002. Budden 1981, pp. 15–16, reinforces this with details of the play.
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men swear eternal friendship (Duet: "Dieu, tu semas dans nos âmes" / "Dio, che nell'alma infondere").
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in October/November 2007 with a different cast. The production was performed several times by the
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2444:. The production added the Prelude and Introduction to Act 1, music cut before the 1867 premiere.
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from the première of the Milan version, Act I, Scene 2 (Act II, Scene 2 in the unrevised version)
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must be performed in its entirety as it will be performed for the first time at the Paris Opéra.
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Verdi; Günther 1986, pp. XX, 263–276 (a), 623 (b). Budden 1981, pp. 28–29. Porter 1982, p. 362.
1949:
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359:
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579:. The La Scala première of the 1883 revised version took place on 10 January 1884 in Italian.
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performed the 1866 French version (before the ballet was composed) in a production staged by
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the opera without changing the plate numbers. This subsequently confused some authors, e.g.
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Inquisitor, and instantly obey his angry command to quiet down and pay homage to the King.
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Carlo Cornaglia's depiction of Act IV (the original Act V) in the 1884 La Scala production
8:
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Also influential was a 1958 staging of the 1886 five-act "Modena version" in Italian by
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in Florence in April–May 1869 which used the Italian translation by Achille de Lauzières
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However, the Italian translation was first performed not in Italy but in London at the
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208:. The opera is most often performed in Italian translation, usually under the title
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3949:
3879:
2397:, Royal Opera House Collections Online, Performance Database, accessed Oct. 1 2013.
1827:
1691:
1604:
1217:
a French princess initially betrothed to Don Carlos but then married to King Philip
1194:
1130:
1038:
999:
729:
713:
657:
614:
451:
169:
79:
3442:
Full musical score and vocal scores (Italian and French, 4-act and 5-act versions)
3106:
721:
519:), which replaced some of the previously cut material, and (b) the removal of the
201:
111:
4533:
4183:
4156:
3759:
3545:
3427:
3287:
2039:
1995:
1022:
987:
866:
757:
673:
653:
630:
551:
454:, offering the Milan publisher the Italian rights, but insisting that the opera:
435:
234:
158:
882:
4266:
3997:
3749:
3739:
3669:
3644:
3120:
3018:
1920:
1541:
1030:
1026:
886:
878:
874:
870:
839:
816:
792:
717:
708:
mounted an expanded five-act version in Italian at La Scala. The cast included
705:
626:
584:
154:
49:
1186:
950:
as Elizabeth, Paul Charles Clarke as Don Carlos, Scott Hendricks as Rodrigue,
165:
74:
4527:
4377:
4308:
4301:
3719:
3393:
3376:
3366:
3077:
2127:
Budden 1981, p. 26; for the Italian translation by Achille de Lauzières, see
1871:
1821:
1760:
1247:
1103:
995:
947:
843:
831:
749:
745:
709:
646:
529:
491:
2359:, 2008, pp. 1133–1134. Don Carlo: dramma lirica in quattro atti, DVD video,
1626:
1517:
1463:
Don Carlos enters, anguished that the woman he loves is now his stepmother.
835:
196:
4033:
3988:
3970:
3839:
3809:
3769:
3431:
3188:
Giuseppe Verdi, Don Carlo—Partitura (Valevole per l'edizione in 4 e 5 atti)
2686:
2599:
2364:
1809:
1003:
986:
from 13 April 2012 until 28 April. The Houston production was conducted by
820:
737:
638:
634:
613:, the four-act version was performed without the ballet in a production by
525:
3779:
2607:
2595:
2555:
2140:
4495:
4280:
4273:
3849:
3397:
3206:
2998:
2340:
2319:
2132:
1937:
1832:
1652:
1291:
1226:
971:
681:
665:
622:
606:
385:
242:
150:
45:
3594:
3572:
3550:
3528:
3506:
3484:
3462:
3229:
4367:
4287:
3789:
3221:
2667:
1991:
1909:
1905:
1875:
1848:
1757:
1616:
1562:
1079:
963:
669:
471:, Covent Garden on 4 June 1867, where it was produced and conducted by
241:. It was commissioned and produced by the Théâtre Impérial de l'Opéra (
3168:
834:
broadcast the opera in June 1973 with the roles of Don Carlos sung by
3829:
3819:
1892:
1879:
1863:
1388:
975:
955:
920:
890:
862:
688:
1438:
327:, first published in 1980 and in a second, revised version in 1986.
4589:
Cultural depictions of Ana de Mendoza y de Silva, Princess of Éboli
1844:
1813:
1648:
1521:
The historical Princess of Eboli, Ana de Mendoza, by unknown artist
1176:
1057:
894:
781:
498:
430:
161:
3689:
3613:
1859:
1840:
1836:
1817:
1801:
1764:
1221:
979:
967:
257:
181:
536:
1882/83 and 1886 revisions: "Milan version" and "Modena version"
286:
3939:
3889:
3709:
1925:
1410:
959:
511:
310:
295:
Elisabeth and Eboli during the insurrection in the same scene.
269:
261:
256:
in London in June 1867. The first performance in Italy was in
1987:
1933:
1929:
1452:
1149:
265:
1779:
Except as noted, the instrumentation shown here is from the
1069:
Francesco Tamagno, the Don Carlo in the 1884 Italian version
416:
Poster depicting the death of Rodrigo in the King's presence
3929:
2532:"Recordings, Video. Verdi: Don Carlos, Théâtre du Châtelet"
1913:
1888:
1805:
563:
30:
This article is about the Verdi opera. For other uses, see
3159:, edited by Ursula Günther (and Lucian Petazzoni). 1980."
1264:
A monk, who at the end of Act 5 appears as Charles-Quint (
497:
This version of the opera was first performed in Milan at
3354:
Nineteenth-Century Italian Opera: From Rossini to Puccini
2253:
930:
of the largely uncut Paris version in French between the
740:
conducted an expanded five-act version in Italian at the
421:
780:
as Rodrigue. A five-act French version was performed at
2790:. Instituto Nazionale di Studi Verdiani. Archived from
2314:
Don Carlo, Opera in 4 acts; originally in 5, Music CD,
217:
The opera's story is based on conflicts in the life of
1451:
Scene 1: The monastery of Saint-Just (San Jerónimo de
3269:. Chicago & London: University of Chicago Press.
3178:. Mineola, New York: Dover Publications, 2001, 2011.
1418:
of Spain, will bring the war to an end, and departs.
3163:, vol. 35, no. 2 (Summer, 1982), pp. 360–370.
3088:, Vol. One. London: Macmillan Publishers, Inc. 1998
978:. It was performed by the Canadian Opera Company in
645:(1978 audio recording and 1986 video recording) and
110:(and incidents borrowed from a contemporary play by
2840:
at the time, but not mentioned as such in the opera
2620:
Archive copy of "Don Carlos, Grand opera in 5 Acts"
2066:Porter, Andrew. "Musical Events: Proper Bostonian"
237:demanded that she be married instead to his father
3339:, Oxford & New York: Oxford University Press.
998:as Elizabeth, Andrea Silvestrelli as Philippe II,
2918:review of the 1980 edition (Porter 1982, p. 367).
2455:"Opera: New Production Of ‘Don Carlo’ at the Met"
2199:
2197:
926:On 17 September 2005 a co-production directed by
853:in Brussels in 1983. A co-production between the
760:as Rodrigo, Nicolai Ghiaurov as King Philip, and
434:Title page of a libretto for performances at the
4525:
3141:, Oxford and New York: Oxford University Press.
2648:at operawarhorses.com. Retrieved 1 January 2022.
2583:
2581:
2579:
1535:Scene 1: Evening in the Queen's garden in Madrid
587:as "a new edition in five acts without ballet".
2921:
2411:"Indifferently recorded, frantically conducted"
482:The Italian premiere on 27 October 1867 at the
190:. In addition, several incidents, of which the
3265:De Van, Gilles (trans. Gilda Roberts) (1998),
2872:Verdi; Günther 1986, pp. 467 (letter N) – 468.
2275:
2273:
2271:
2194:
1643:Scene 1: Dawn in King Philip's study in Madrid
252:The first performance in Italian was given at
200:were the most substantial, were borrowed from
3629:
3267:Verdi's Theater: Creating Drama Through Music
3161:Journal of the American Musicological Society
2851:p. 357 of the 1867 Escudier piano-vocal score
2682:"A less-cut operatic 'Don Carlos' in Houston"
2633:"HGO rises to the occasion with 'Don Carlos'"
2576:
2382:The Penguin Guide to Recorded Classical Music
1695:Baril Gédéon, "Il Maestro Verdi", cartoon by
736:as the Grand Inquisitor. On 5 February 1979,
282:Pre-première cuts and first published edition
4260:Orchestra Sinfonica di Milano Giuseppe Verdi
3450:Visual evidence of the Parisian premiere on
2436:Music View: 'Don Carlo'—Great But Difficult"
2152:Quoted and translated in Budden 1981, p. 27.
2062:
2060:
2058:
1699:, 14 March 1867. (Museum of the Paris Opera)
540:The idea of reducing the scope and scale of
505:
4579:Operas based on works by Friedrich Schiller
3337:The New Grove Guide to Verdi and His Operas
3292:Divas and Scholar: Performing Italian Opera
3254:, London: John Calder; New York: Riverrun.
2769:
2767:
2335:Don Carlos: opera in four acts, DVD video,
2268:
549:, who had worked on French translations of
3636:
3622:
3605:
3583:
3561:
3539:
3517:
3495:
3473:
3308:(1983), New York: Dodd, Mead and Company.
1748:confirming Carlos's putative culpability.
1145:Infante of Spain, son and heir to the King
1002:as Eboli, Scott Hendricks as Rodrigue and
938:(Toronto) was premiered by the WNO at the
590:
510:Following the unsuccessful performance in
340:
56:
4594:Cultural depictions of Philip II of Spain
3446:International Music Score Library Project
2982:
2055:
1964:Cultural depictions of Philip II of Spain
568:translation by de Lauzières, was made by
4574:Opera world premieres at the Paris Opera
3294:, Chicago: University of Chicago Press.
3064:Sarah Caldwell; The First Woman of Opera
2764:
2453:Schonberg, Harold C. (6 February 1979).
2024:
2022:
1690:
1516:
1488:
1437:
1392:The historical Don Carlos - portrait by
1387:
1064:
1056:
429:
285:
221:(1545–1568). Though he was betrothed to
3325:, New York: Da Capo Press, Inc., 1969.
2635:at chron.com. Retrieved 1 January 2022.
2169:
2167:
1442:The historical Elizabeth of Valois, by
800:in the title role, the French-Canadian
14:
4526:
2409:at operadis-opera-discography.org.uk.
1561:Scene 2: In front of the Cathedral of
446:was prepared in the autumn of 1866 by
330:
276:
225:, part of the peace treaty ending the
3617:
3066:. Lanham, Maryland: Scarecrow Press.
3006:" but is rarely used in its entirety.
2019:
893:and is now available in a remastered
450:. On 18 November 1866 Verdi wrote to
354:and Joseph Thierry (Acts I and III),
3155:(1982), Review of: "Giuseppe Verdi.
2503:at operadis-opera-discography.org.uk
2371:at operadis-opera-discography.org.uk
2357:The Gramophone Classical Music Guide
2347:at operadis-opera-discography.org.uk
2326:at operadis-opera-discography.org.uk
2164:
1061:Jean Morère, the original Don Carlos
656:company, Covent Garden, directed by
486:, conducted by Verdi's close friend
2824:. L'Almanacco di Gherardo Casaglia
1912:, 2 trumpets in D, 4 horns in D, 2
1624:Preparations are being made for an
942:. The performance was conducted by
609:'s first season as director of the
92:French, also in Italian translation
24:
3643:
3371:Giuseppe Verdi: His Life and Works
3250:Batchelor, Jennifer (ed.) (1992),
3052:, New York: Penguin Putnam, 2001.
2680:Associated Press (23 April 2012),
2471:Met performance of 5 February 1979
1774:
1570:
25:
4605:
3415:
3157:Don Carlos: Edizione integrale...
3123:. New York: G. P. Putnam's Sons.
3086:The New Grove Dictionary of Opera
2908:Verdi; Günther 1986, pp. 522–527.
2899:Verdi; Günther 1986, pp. 493–497.
2890:Verdi; Günther 1986, pp. 479–492.
2881:Verdi; Günther 1986, pp. 513–521.
2718:
2644:William Burnett (17 April 2012),
2530:William R. Braun (January 2004),
2109:Kimbell 2001, in Holden, p. 1003.
1485:Scene 2: A garden near Saint-Just
704:at the London Coliseum. In 1978,
4509:
4508:
4459:Giuseppe Verdi's Rigoletto Story
4187:
3422:Verdi: "The story" and "History"
3306:Verdi: His Music, Life and Times
2071:, 2 June 1973, pp. 102–108
2016:Verdi; Günther 1986, pp. XX–XXI.
1615:Problems playing this file? See
1593:
1168:Marquis of Posa, a friend of the
830:The BBC Concert Orchestra under
804:as Élisabeth, the French singer
409:
393:
378:
309:In 1969, at a Verdi congress in
245:) and given its premiere at the
3524:The Metropolitan Opera Presents
3356:, Portland, OR: Amadeus Press.
2991:
2988:Verdi; Günther 1986, p. XXXVII.
2973:
2964:
2955:
2946:
2936:
2911:
2902:
2893:
2884:
2875:
2866:
2856:
2843:
2831:
2806:
2776:
2743:
2712:
2699:Heidi Waleson (24 April 2012),
2693:
2674:
2663:, Houston Grand Opera, 4/13/12"
2651:
2638:
2631:Everett Evans (17 April 2012),
2625:
2613:
2561:
2541:
2524:
2506:
2494:
2485:
2476:
2464:
2447:
2425:
2416:
2400:
2395:Don Carlos, 9 May 1958, Evening
2388:
2374:
2350:
2329:
2308:
2292:
2259:
2242:
2233:
2224:
2215:
2206:
2185:
2176:
2155:
2146:
2121:
2112:
2103:
2094:
1655:(Aria: "Elle ne m'aime pas" / "
744:in New York. The cast included
335:
3700:I Lombardi alla prima crociata
3670:Oberto, Conte di San Bonifacio
3402:Verdi: The Man and His Letters
3381:The Oxford Dictionary of Opera
2622:, originally at johncaird.com.
2281:"'Don Carlos,' Early and Late"
2279:David Stevens (6 March 1996).
2085:
2076:
2046:
2031:
2010:
2001:
1980:
1350:a lady-in-waiting to Elisabeth
175:Don Karlos, Infant von Spanien
13:
1:
2701:"Soprano Showdown in Houston"
1969:
1943:
889:as Eboli. It was recorded on
547:Charles-Louis-Étienne Nuitter
172:, based on the dramatic play
4479:Casa di Riposo per Musicisti
4224:Theatres named after Verdi (
3323:The Complete Operas of Verdi
2979:Verdi; Günther 1986, p. 669.
2961:Verdi; Günther 1986, p. 651.
1783:, second edition, edited by
1319:a Spanish delegate to France
313:, the American musicologist
7:
4218:Memorials to Giuseppe Verdi
3084:", in Stanley Sadie (ed.),
3050:The New Penguin Opera Guide
2838:Diego, Cardinal de Espinosa
2690:. Retrieved 1 January 2022.
2671:. Retrieved 1 January 2022.
2657:Gregory Barnett (4/13/12),
1957:
1916:, 2 trombones, 2 bass tubas
1373:
851:Théâtre Royal de la Monnaie
32:Don Carlos (disambiguation)
10:
4610:
4328:Portrait of Giuseppe Verdi
3404:, New York, Vienna House.
3112:The New Kobbé's Opera Book
3044:Kimbell, David (2001), in
2931:, 1867 libretto, pp. 81–82
2812:Casaglia, Gherardo (2005).
2303:(6 November 1950) Telecast
1947:
1117:the King of Spain, son of
1111:Philippe II (Filippo II /
823:as Philippe. According to
532:, who dated them to 1883.
484:Teatro Comunale di Bologna
290:Giuseppe Verdi, about 1870
219:Carlos, Prince of Asturias
206:Philippe II, Roi d'Espagne
29:
4505:
4470:
4389:
4348:Verdi, the King of Melody
4318:
4209:
4176:String Quartet in E minor
4147:
4044:
3961:
3660:
3651:
2473:at the Met Opera Archive.
2230:Porter 1982, pp. 362–363.
1647:Alone and suffering from
1603:Performed in 2000 by the
1364:
1232:Abigaille Bruschi-Chiatti
1100:10 January 1884
1006:as the Grand Inquisitor.
764:as the Grand Inquisitor.
506:1872 revisions for Naples
426:in an Italian translation
118:
96:
88:
67:
55:
44:
39:
4569:Operas by Giuseppe Verdi
4016:Libiamo ne' lieti calici
3568:Salzburg Easter Festival
3174:Verdi, Giuseppe (2011).
3135:Phillips-Matz, Mary Jane
3062:Kessler, Daniel (2008),
2550:. Kultur Bluray video .
2482:Kessler 2008, pp. 44–45.
1904:) in E-flat and B-flat,
1719:
1633:
1525:
1429:
1383:
1253:Pauline Guéymard-Lauters
1121:and father of Don Carlos
1052:
923:recording is available.
649:(1992 video recording).
4564:Italian-language operas
4253:Giuseppe Verdi Monument
3980:Bella figlia dell'amore
3800:La battaglia di Legnano
3379:and West, Ewan (1992),
3373:, New York: Knopf, 1931
2706:The Wall Street Journal
2602:. Arthaus Musik, 2010.
2239:Budden 1981, pp. 31–38.
2028:Budden 1981, pp. 23–25.
1767:played by the strings.
1589:) from Act III, Scene 2
1444:Juan Pantoja de la Cruz
1407:Forest of Fontainebleau
1086:11 March 1867
1011:Opéra National de Paris
940:Wales Millennium Center
791:under the direction of
789:Opera Company of Boston
591:20th century and beyond
583:which was published by
192:Forest of Fontainebleau
123:11 March 1867
27:Opera by Giuseppe Verdi
4559:French-language operas
3860:Les vêpres siciliennes
3459:from aria-database.com
3335:Parker, Roger (2007),
3212:Walker, Frank (1962),
2385:, 2008, pp. 1460–1461.
2100:Budden 1981, p. 25–26.
1908:, 2 clarinets in A, 2
1700:
1575:
1522:
1498:
1447:
1397:
1348:Countess of Aremberg,
1268:), thought to be dead
1243:an aristocrat in court
1193:Le Grand Inquisiteur (
1070:
1062:
936:Canadian Opera Company
904:production, staged by
702:English National Opera
439:
360:Jean-Baptiste Lavastre
352:Charles-Antoine Cambon
291:
229:between the Houses of
227:Italian War of 1551–59
4584:Operas based on plays
4025:Un dì, felice, eterea
1996:the Spanish honorific
1694:
1583:Le ballet de la reine
1574:
1520:
1492:
1441:
1391:
1211:Élisabeth de Valois (
1135:Alessandro Silvestri
1091:François George-Hainl
1068:
1060:
1015:Krzysztof Warlikowski
732:as King Phillip, and
433:
362:(Acts II and V), and
289:
4539:Operas set in France
4487:Verdi Transcriptions
4137:Un ballo in maschera
4083:La forza del destino
3910:La forza del destino
3900:Un ballo in maschera
3654:List of compositions
3502:Deutsche Oper Berlin
3428:1867 French libretto
3252:Don Carlos/Don Carlo
2970:Budden 1981, p. 152.
2491:Budden 1981, p. 155.
2432:Schonberg, Harold C.
2305:, Met Opera Archive.
2248:1884 Milan version:
2203:Porter 1982, p. 368.
2191:Walker 1962, p. 417.
2182:Walker 1962, p. 326.
2118:Budden 1981, p. 156.
2091:Verdi; Günther 1986.
1986:In the title of the
1394:Sofonisba Anguissola
1317:The Count of Lerma,
1305:A Voice from Heaven
1284:Thibault (Tebaldo),
1227:Marie-Constance Sass
1206:Francesco Navarrini
1195:The Grand Inquisitor
1166:Rodrigue (Rodrigo),
1025:, the cast included
932:Welsh National Opera
787:On 22 May 1973, the
676:as King Phillip and
664:. The cast included
558:La forza del destino
448:Achille de Lauzières
149:is an 1867 five-act
4544:Operas set in Spain
4319:Cultural depictions
4198:Quattro pezzi sacri
4046:Opera discographies
3590:Théâtre du Châtelet
3424:on giuseppeverdi.it
3216:. New York: Knopf.
3033:. London: Cassell.
3023:The Operas of Verdi
2434:(4 February 1979).
2422:Kobbé 1997, p. 901.
2265:Budden 1981, p. 39.
2250:Notice de spectacle
2221:Budden 1981, p. 29.
2173:Budden 1981, p. 28.
2161:Budden 1981, p. 27.
2052:Budden 1981, p. 25.
1994:, "Don" is used as
1213:Elisabeth of Valois
1182:Jean-Baptiste Faure
1049:in the title role.
1041:as Philippe II and
984:Houston Grand Opera
885:as Philippe II and
855:Théâtre du Châtelet
815:as Princess Eboli,
724:in the title role,
662:Carlo Maria Giulini
643:Herbert von Karajan
621:in the title role,
517:Antonio Ghislanzoni
400:Costume design for
374:1867 Paris premiere
364:Auguste Alfred Rubé
331:Performance history
301:J'étais en Flandres
277:Composition history
223:Elisabeth of Valois
4246:Milan Conservatory
4167:Inno delle nazioni
4148:Other compositions
3870:I vespri siciliani
3680:Un giorno di regno
3480:Metropolitan Opera
3437:Libretto (Italian)
3139:Verdi: A Biography
2773:Budden 1981, p. 4.
2719:Mudge, Stephen J.
2459:The New York Times
2441:The New York Times
2286:The New York Times
1900:: Offstage horns (
1781:Edizione integrale
1731:monastery of Yuste
1701:
1657:Ella giammai m'amò
1576:
1523:
1499:
1448:
1398:
1343:Angelo Fiorentini
1329:Angelo Fiorentini
1279:Leopoldo Cromberg
1071:
1063:
992:Brandon Jovanovich
902:Vienna State Opera
842:, and Rodrigue by
754:Giuseppe Giacomini
742:Metropolitan Opera
611:Metropolitan Opera
440:
356:Édouard Desplechin
292:
249:on 11 March 1867.
239:Philip II of Spain
188:Friedrich Schiller
108:Friedrich Schiller
4521:
4520:
4361:(1982 miniseries)
4358:The Life of Verdi
4295:Verdi, California
4007:La donna è mobile
3610:, The Royal Opera
3345:978-0-19-531314-7
3238:978-0-226-87132-5
3197:, editor (1986),
3193:Verdi, Giuseppe;
3025:, Volume 3: From
2731:on 8 January 2018
1687:Scene 2: A prison
1598:
1371:
1370:
1286:page to Elisabeth
1275:Armand Castelmary
1266:Emperor Charles V
1258:Giuseppina Pasqua
1160:Francesco Tamagno
1047:Matthew Polenzani
917:Bertrand de Billy
906:Peter Konwitschny
857:in Paris and the
838:, Philippe II by
778:Matteo Manuguerra
734:Evgeny Nesterenko
726:Piero Cappuccilli
698:Charles Mackerras
660:and conducted by
637:as Philip II and
469:Royal Opera House
368:Philippe Chaperon
247:Salle Le Peletier
142:
141:
134:Salle Le Peletier
16:(Redirected from
4601:
4512:
4511:
4498:
4491:
4481:
4471:Related articles
4463:
4453:
4443:
4433:
4423:
4413:
4403:
4390:Film adaptations
4382:
4372:
4362:
4352:
4342:
4332:
4311:
4304:
4297:
4290:
4283:
4276:
4269:
4262:
4255:
4248:
4241:
4220:
4202:
4192:
4191:
4184:Messa da Requiem
4179:
4171:
4161:
4140:
4131:
4122:
4113:
4104:
4095:
4086:
4077:
4068:
4059:
4047:
4037:
4028:
4019:
4010:
4001:
3992:
3983:
3974:
3954:
3944:
3934:
3924:
3914:
3904:
3894:
3884:
3880:Simon Boccanegra
3874:
3864:
3854:
3844:
3834:
3824:
3814:
3804:
3794:
3784:
3774:
3764:
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3724:
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3694:
3684:
3674:
3638:
3631:
3624:
3615:
3614:
3609:
3587:
3565:
3543:
3521:
3499:
3477:
3444:: Scores at the
3350:Pistone, Danièle
3319:Osborne, Charles
3304:Martin, George,
3224:. London: Dent.
3117:Earl of Harewood
3115:, edited by the
3007:
2995:
2989:
2986:
2980:
2977:
2971:
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2953:
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2829:
2827:
2822:10 January 1884"
2821:
2810:
2804:
2803:
2801:
2799:
2780:
2774:
2771:
2762:
2761:
2760:
2759:
2752:MOoD Detail Page
2747:
2741:
2740:
2738:
2736:
2727:. Archived from
2716:
2710:
2697:
2691:
2678:
2672:
2655:
2649:
2642:
2636:
2629:
2623:
2617:
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2171:
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2144:
2125:
2119:
2116:
2110:
2107:
2101:
2098:
2092:
2089:
2083:
2080:
2074:
2064:
2053:
2050:
2044:
2035:
2029:
2026:
2017:
2014:
2008:
2005:
1999:
1984:
1738:Tu che le vanità
1605:U.S. Marine Band
1600:
1599:
1573:
1360:Angelina Pirola
1297:Leonia Levielly
1131:Louis-Henri Obin
1073:
1072:
1039:Ildar Abdrazakov
1000:Christine Goerke
819:as Rodrigue and
814:
730:Nicolai Ghiaurov
714:Elena Obraztsova
678:Gré Brouwenstijn
658:Luchino Visconti
615:Margaret Webster
600:Performances of
578:
570:Angelo Zanardini
521:allegro marziale
452:Giovanni Ricordi
413:
397:
382:
170:Camille du Locle
130:
128:
80:Camille du Locle
60:
37:
36:
21:
4609:
4608:
4604:
4603:
4602:
4600:
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4524:
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4325:
4314:
4307:
4300:
4293:
4286:
4279:
4272:
4265:
4258:
4251:
4244:
4223:
4216:
4205:
4195:
4182:
4174:
4164:
4157:Suona la tromba
4154:
4143:
4134:
4125:
4116:
4107:
4098:
4089:
4080:
4071:
4062:
4053:
4045:
4040:
4031:
4022:
4013:
4004:
3995:
3986:
3977:
3968:
3957:
3947:
3937:
3927:
3917:
3907:
3897:
3887:
3877:
3873:(December 1855)
3867:
3857:
3847:
3837:
3827:
3817:
3807:
3797:
3787:
3777:
3767:
3757:
3747:
3737:
3730:Giovanna d'Arco
3727:
3717:
3707:
3697:
3687:
3677:
3667:
3656:
3647:
3642:
3546:The Royal Opera
3418:
3383:New York: OUP.
3288:Gossett, Philip
3010:
2996:
2992:
2987:
2983:
2978:
2974:
2969:
2965:
2960:
2956:
2951:
2947:
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2898:
2894:
2889:
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2880:
2876:
2871:
2867:
2861:
2857:
2848:
2844:
2836:
2832:
2825:
2819:
2811:
2807:
2797:
2795:
2794:on 5 March 2012
2782:
2781:
2777:
2772:
2765:
2757:
2755:
2749:
2748:
2744:
2734:
2732:
2717:
2713:
2698:
2694:
2679:
2675:
2656:
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2630:
2626:
2618:
2614:
2586:
2577:
2566:
2562:
2546:
2542:
2529:
2525:
2518:ROH Collections
2512:
2511:
2507:
2499:
2495:
2490:
2486:
2481:
2477:
2469:
2465:
2452:
2448:
2430:
2426:
2421:
2417:
2405:
2401:
2393:
2389:
2379:
2375:
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2334:
2330:
2313:
2309:
2297:
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2278:
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2264:
2260:
2247:
2243:
2238:
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2229:
2225:
2220:
2216:
2211:
2207:
2202:
2195:
2190:
2186:
2181:
2177:
2172:
2165:
2160:
2156:
2151:
2147:
2135:(vocal score);
2126:
2122:
2117:
2113:
2108:
2104:
2099:
2095:
2090:
2086:
2081:
2077:
2065:
2056:
2051:
2047:
2036:
2032:
2027:
2020:
2015:
2011:
2006:
2002:
1985:
1981:
1972:
1960:
1955:
1946:
1777:
1775:Instrumentation
1722:
1636:
1622:
1621:
1613:
1611:
1610:
1609:
1608:
1601:
1594:
1591:
1577:
1571:
1528:
1432:
1386:
1376:
1101:
1099:
1097:
1096:Revised version
1089:
1087:
1085:
1055:
1029:as Don Carlos,
1023:Philippe Jordan
1021:. Conducted by
994:as Don Carlos,
988:Patrick Summers
873:as Don Carlos,
867:Antonio Pappano
808:
784:Milan in 1970.
758:Sherrill Milnes
674:Boris Christoff
654:The Royal Opera
631:Fedora Barbieri
593:
572:
538:
508:
436:Teatro Pagliano
428:
417:
414:
405:
398:
389:
383:
347:
338:
333:
279:
159:French-language
138:
137:
131:
126:
124:
105:
84:
63:
35:
28:
23:
22:
15:
12:
11:
5:
4607:
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4500:
4499:
4492:
4482:
4474:
4472:
4468:
4467:
4465:
4464:
4454:
4444:
4434:
4424:
4414:
4404:
4393:
4391:
4387:
4386:
4384:
4383:
4373:
4363:
4353:
4343:
4338:Giuseppe Verdi
4333:
4322:
4320:
4316:
4315:
4313:
4312:
4305:
4298:
4291:
4284:
4277:
4270:
4267:Verdi (crater)
4263:
4256:
4249:
4242:
4221:
4213:
4211:
4207:
4206:
4204:
4203:
4193:
4180:
4172:
4162:
4151:
4149:
4145:
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4142:
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4132:
4123:
4114:
4105:
4096:
4087:
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4069:
4060:
4050:
4048:
4042:
4041:
4039:
4038:
4029:
4020:
4011:
4002:
3998:Di quella pira
3993:
3984:
3975:
3965:
3963:
3962:Opera excerpts
3959:
3958:
3956:
3955:
3945:
3935:
3925:
3915:
3905:
3895:
3885:
3875:
3865:
3855:
3845:
3835:
3825:
3815:
3805:
3795:
3785:
3775:
3765:
3755:
3745:
3735:
3725:
3715:
3705:
3695:
3685:
3675:
3664:
3662:
3658:
3657:
3652:
3649:
3648:
3645:Giuseppe Verdi
3641:
3640:
3633:
3626:
3618:
3612:
3611:
3592:
3570:
3548:
3526:
3504:
3482:
3460:
3454:
3448:
3439:
3434:
3425:
3417:
3416:External links
3414:
3413:
3412:
3391:
3374:
3364:
3347:
3333:
3316:
3302:
3285:
3263:
3242:
3241:
3210:
3195:Ursula Günther
3191:
3172:
3153:Porter, Andrew
3150:
3132:
3121:Antony Peattie
3104:
3075:
3060:
3046:Holden, Amanda
3042:
3019:Budden, Julian
3009:
3008:
2990:
2981:
2972:
2963:
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2910:
2901:
2892:
2883:
2874:
2865:
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2763:
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2711:
2692:
2673:
2650:
2637:
2624:
2612:
2575:
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2540:
2523:
2505:
2493:
2484:
2475:
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2446:
2424:
2415:
2399:
2387:
2373:
2349:
2328:
2307:
2291:
2267:
2258:
2241:
2232:
2223:
2214:
2205:
2193:
2184:
2175:
2163:
2154:
2145:
2120:
2111:
2102:
2093:
2084:
2075:
2069:The New Yorker
2054:
2045:
2030:
2018:
2009:
2000:
1978:
1971:
1968:
1967:
1966:
1959:
1956:
1948:Main article:
1945:
1942:
1941:
1940:
1917:
1902:left and right
1895:
1882:
1851:
1824:
1785:Ursula Günther
1776:
1773:
1772:
1771:
1753:
1752:
1745:
1744:
1726:
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1721:
1718:
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1672:
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1635:
1632:
1612:
1602:
1592:
1580:
1579:
1578:
1569:
1568:
1567:
1554:
1553:
1550:
1549:
1542:divertissement
1532:
1531:
1527:
1524:
1515:
1514:
1495:Carlo Ferrario
1493:Set design by
1468:
1467:
1436:
1435:
1431:
1428:
1423:
1422:
1402:
1401:
1385:
1382:
1381:
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1331:
1330:
1327:
1324:
1321:
1314:
1313:
1311:
1309:
1306:
1302:
1301:
1300:Amelia Garten
1298:
1295:
1288:
1281:
1280:
1277:
1272:
1269:
1261:
1260:
1255:
1250:
1245:
1239:Princess Eboli
1235:
1234:
1229:
1224:
1219:
1208:
1207:
1204:
1201:
1198:
1190:
1189:
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1157:
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1147:
1137:
1136:
1133:
1128:
1123:
1108:
1107:
1094:
1082:
1077:
1054:
1051:
1035:Ludovic Tézier
1033:as Elisabeth,
1031:Sonya Yoncheva
1027:Jonas Kaufmann
887:Waltraud Meier
879:Thomas Hampson
877:as Elisabeth,
875:Karita Mattila
871:Roberto Alagna
840:Joseph Rouleau
817:William Dooley
802:Édith Tremblay
798:John Alexander
793:Sarah Caldwell
756:as Don Carlo,
748:as Elizabeth,
718:Viorica Cortez
712:as Elizabeth,
706:Claudio Abbado
693:Georges Prêtre
668:as Don Carlo,
627:Robert Merrill
625:as Elizabeth,
619:Jussi Björling
592:
589:
537:
534:
507:
504:
488:Angelo Mariani
465:
464:
427:
420:
419:
418:
415:
408:
406:
399:
392:
390:
384:
377:
375:
346:
339:
337:
334:
332:
329:
325:Ursula Günther
278:
275:
155:Giuseppe Verdi
140:
139:
132:
122:
120:
116:
115:
98:
94:
93:
90:
86:
85:
83:
82:
77:
71:
69:
65:
64:
61:
53:
52:
50:Giuseppe Verdi
42:
41:
26:
9:
6:
4:
3:
2:
4606:
4595:
4592:
4590:
4587:
4585:
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4577:
4575:
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4570:
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4565:
4562:
4560:
4557:
4555:
4552:
4550:
4547:
4545:
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4475:
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4460:
4455:
4451:
4450:
4445:
4441:
4440:
4435:
4431:
4430:
4425:
4421:
4420:
4415:
4411:
4410:
4405:
4401:
4400:
4395:
4394:
4392:
4388:
4380:
4379:
4378:Risorgimento!
4374:
4370:
4369:
4364:
4360:
4359:
4354:
4350:
4349:
4344:
4340:
4339:
4334:
4330:
4329:
4324:
4323:
4321:
4317:
4310:
4309:Verdi, Nevada
4306:
4303:
4302:Verdi, Kansas
4299:
4296:
4292:
4289:
4285:
4282:
4278:
4275:
4271:
4268:
4264:
4261:
4257:
4254:
4250:
4247:
4243:
4239:
4235:
4231:
4227:
4222:
4219:
4215:
4214:
4212:
4208:
4200:
4199:
4194:
4190:
4185:
4181:
4177:
4173:
4169:
4168:
4163:
4159:
4158:
4153:
4152:
4150:
4146:
4139:
4138:
4133:
4130:
4129:
4124:
4121:
4120:
4115:
4112:
4111:
4106:
4103:
4102:
4097:
4094:
4093:
4088:
4085:
4084:
4079:
4076:
4075:
4070:
4067:
4066:
4061:
4058:
4057:
4052:
4051:
4049:
4043:
4035:
4030:
4026:
4021:
4017:
4012:
4008:
4003:
3999:
3994:
3990:
3985:
3981:
3976:
3972:
3967:
3966:
3964:
3960:
3952:
3951:
3946:
3942:
3941:
3936:
3932:
3931:
3926:
3922:
3921:
3916:
3912:
3911:
3906:
3902:
3901:
3896:
3892:
3891:
3886:
3882:
3881:
3876:
3872:
3871:
3866:
3862:
3861:
3856:
3852:
3851:
3846:
3842:
3841:
3836:
3832:
3831:
3826:
3822:
3821:
3816:
3812:
3811:
3806:
3802:
3801:
3796:
3792:
3791:
3786:
3782:
3781:
3776:
3772:
3771:
3766:
3762:
3761:
3756:
3752:
3751:
3746:
3742:
3741:
3736:
3732:
3731:
3726:
3722:
3721:
3720:I due Foscari
3716:
3712:
3711:
3706:
3702:
3701:
3696:
3692:
3691:
3686:
3682:
3681:
3676:
3672:
3671:
3666:
3665:
3663:
3659:
3655:
3650:
3646:
3639:
3634:
3632:
3627:
3625:
3620:
3619:
3616:
3608:
3603:
3599:
3597:
3593:
3591:
3586:
3581:
3577:
3575:
3571:
3569:
3564:
3559:
3555:
3553:
3549:
3547:
3542:
3537:
3533:
3531:
3527:
3525:
3520:
3515:
3511:
3509:
3505:
3503:
3498:
3493:
3489:
3487:
3483:
3481:
3476:
3471:
3467:
3465:
3461:
3458:
3455:
3453:
3449:
3447:
3443:
3440:
3438:
3435:
3433:
3429:
3426:
3423:
3420:
3419:
3411:
3410:0-8443-0088-8
3407:
3403:
3399:
3395:
3394:Werfel, Franz
3392:
3390:
3389:0-19-869164-5
3386:
3382:
3378:
3377:Warrack, John
3375:
3372:
3368:
3367:Toye, Francis
3365:
3363:
3362:0-931340-82-9
3359:
3355:
3351:
3348:
3346:
3342:
3338:
3334:
3332:
3331:0-306-80072-1
3328:
3324:
3320:
3317:
3315:
3314:0-396-08196-7
3311:
3307:
3303:
3301:
3300:0-226-30482-5
3297:
3293:
3289:
3286:
3284:
3283:0-226-14370-8
3280:
3276:
3275:0-226-14369-4
3272:
3268:
3264:
3261:
3260:0-7145-4208-3
3257:
3253:
3249:
3248:
3247:
3246:
3245:Other sources
3239:
3235:
3231:
3227:
3223:
3219:
3215:
3214:The Man Verdi
3211:
3208:
3204:
3200:
3196:
3192:
3189:
3185:
3184:9780486413877
3181:
3177:
3173:
3170:
3166:
3162:
3158:
3154:
3151:
3148:
3147:0-19-313204-4
3144:
3140:
3136:
3133:
3130:
3129:9780399143328
3126:
3122:
3118:
3114:
3113:
3108:
3107:Kobbé, Gustav
3105:
3102:
3101:1-56159-228-5
3098:
3095:
3094:0-333-73432-7
3091:
3087:
3083:
3079:
3078:Parker, Roger
3076:
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3072:0-8108-6110-0
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3058:0-14-029312-4
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3039:9780304307401
3036:
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3013:Cited sources
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2725:operanews.com
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2013:
2004:
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1938:double basses
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1822:contrabassoon
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1248:mezzo-soprano
1246:
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1203:Joseph David
1202:
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1143:(Don Carlo),
1142:
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1132:
1129:
1127:
1124:
1122:
1120:
1114:
1110:
1109:
1105:
1104:Franco Faccio
1098:Premiere cast
1095:
1092:
1084:Premiere cast
1083:
1081:
1078:
1075:
1074:
1067:
1059:
1050:
1048:
1044:
1043:Elīna Garanča
1040:
1037:as Rodrigue,
1036:
1032:
1028:
1024:
1020:
1016:
1012:
1009:In 2017, the
1007:
1005:
1001:
997:
996:Tamara Wilson
993:
989:
985:
981:
977:
973:
969:
965:
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949:
948:Nuccia Focile
945:
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922:
918:
913:
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898:
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892:
888:
884:
881:as Rodrigue,
880:
876:
872:
868:
864:
860:
856:
852:
847:
845:
844:Robert Savoie
841:
837:
833:
832:John Matheson
828:
826:
825:Andrew Porter
822:
818:
812:
807:
806:Michèle Vilma
803:
799:
794:
790:
785:
783:
779:
773:
772:
768:
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763:
759:
755:
751:
750:Marilyn Horne
747:
746:Renata Scotto
743:
739:
735:
731:
727:
723:
722:José Carreras
719:
715:
711:
710:Mirella Freni
707:
703:
699:
694:
690:
685:
684:and Giulini.
683:
679:
675:
671:
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663:
659:
655:
650:
648:
647:Riccardo Muti
644:
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531:
530:Ernest Newman
527:
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500:
495:
493:
492:Teatro Apollo
489:
485:
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473:Michael Costa
470:
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320:Andrew Porter
316:
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274:
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254:Covent Garden
250:
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232:
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212:
207:
204:'s 1846 play
203:
202:Eugène Cormon
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136:(Paris Opéra)
135:
121:
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112:Eugène Cormon
109:
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59:
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38:
33:
19:
4554:Grand operas
4507:
4486:
4458:
4448:
4438:
4428:
4418:
4408:
4398:
4381:(2011 opera)
4376:
4366:
4356:
4346:
4336:
4326:
4210:Recognitions
4196:
4165:
4155:
4136:
4127:
4119:Il trovatore
4118:
4109:
4100:
4091:
4082:
4073:
4064:
4055:
4034:Va, pensiero
3989:Celeste Aida
3971:Anvil Chorus
3948:
3938:
3928:
3919:
3918:
3908:
3898:
3888:
3878:
3868:
3858:
3848:
3840:Il trovatore
3838:
3828:
3818:
3810:Luisa Miller
3808:
3798:
3788:
3778:
3770:I masnadieri
3768:
3758:
3748:
3738:
3728:
3718:
3708:
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3688:
3678:
3668:
3595:
3573:
3551:
3529:
3523:
3507:
3485:
3463:
3432:Google Books
3401:
3398:Stefan, Paul
3380:
3370:
3353:
3336:
3322:
3305:
3291:
3277:(hardback),
3266:
3251:
3244:
3243:
3213:
3198:
3187:
3175:
3160:
3156:
3138:
3110:
3085:
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3003:
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2938:
2928:
2923:
2913:
2904:
2895:
2886:
2877:
2868:
2858:
2845:
2833:
2826:(in Italian)
2815:
2808:
2796:. Retrieved
2792:the original
2785:
2778:
2756:, retrieved
2751:
2745:
2733:. Retrieved
2729:the original
2724:
2721:"Don Carlos"
2714:
2704:
2695:
2687:Deseret News
2685:
2676:
2666:
2660:
2653:
2640:
2627:
2615:
2587:
2568:
2563:
2547:
2543:
2535:
2526:
2517:
2514:"Don Carlos"
2508:
2496:
2487:
2478:
2466:
2458:
2449:
2439:
2427:
2418:
2402:
2390:
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2300:
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2217:
2208:
2187:
2178:
2157:
2148:
2123:
2114:
2105:
2096:
2087:
2082:Porter 1982.
2078:
2068:
2048:
2038:
2033:
2012:
2003:
1982:
1974:
1973:
1950:
1919:
1901:
1897:
1884:
1853:
1826:
1810:English horn
1791:
1780:
1778:
1754:
1746:
1735:
1729:The moonlit
1728:
1727:
1710:
1702:
1696:
1686:
1685:
1682:
1674:
1666:
1660:
1646:
1642:
1641:
1625:
1623:
1614:
1587:La peregrina
1586:
1582:
1560:
1559:
1555:
1540:
1538:
1534:
1533:
1508:
1504:
1500:
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1483:
1480:
1476:
1473:
1469:
1462:
1458:
1450:
1449:
1424:
1416:
1404:
1403:
1365:
1349:
1318:
1285:
1242:
1216:
1171:
1167:
1144:
1116:
1102:(Conductor:
1008:
1004:Samuel Ramey
925:
909:
899:
883:José Van Dam
848:
829:
821:Donald Gramm
786:
774:
770:
769:
766:
762:James Morris
738:James Levine
728:as Rodrigo,
686:
672:as Rodrigo,
651:
639:Jerome Hines
635:Cesare Siepi
629:as Rodrigo,
601:
599:
595:
594:
581:
562:
556:
550:
545:the work of
541:
539:
526:Francis Toye
520:
509:
496:
481:
476:
466:
459:
443:
441:
423:
388:as Elisabeth
348:
342:
336:19th century
308:
305:
300:
297:
293:
281:
280:
251:
216:
210:
209:
205:
195:
180:Don Carlos,
179:
173:
153:composed by
145:
144:
143:
100:
4549:1867 operas
4496:Villa Verdi
4419:La Traviata
4371:(1985 play)
4351:(1953 film)
4341:(1938 film)
4281:Verdi Range
4274:Verdi Inlet
4201:(1889–1897)
4128:La traviata
3863:(June 1855)
3850:La traviata
2999:Adolphe Sax
2143:(libretto).
1953:discography
1910:flugelhorns
1697:Le Hanneron
1292:en travesti
1187:Paul Lhérie
1155:Jean Morère
1088:(Conductor:
972:Southampton
944:Carlo Rizzi
859:Royal Opera
809: [
682:Georg Solti
666:Jon Vickers
623:Delia Rigal
607:Rudolf Bing
573: [
386:Marie Sasse
315:David Rosen
243:Paris Opera
166:Joseph Méry
151:grand opera
75:Joseph Méry
46:Grand opera
4528:Categories
4489:(Finnissy)
4368:After Aida
4288:3975 Verdi
4065:Don Carlos
3923:(1867/84)
3920:Don Carlos
3913:(1862/69)
3790:Il corsaro
3763:(1847/65)
3574:Don Carlos
3552:Don Carlos
3510:(1983, TV)
3486:Don Carlos
3082:Don Carlos
3027:Don Carlos
2929:Don Carlos
2798:5 November
2786:Don Carlos
2758:2024-03-04
2668:Opera News
2661:Don Carlos
2600:1252604603
2588:Don Carlos
2570:Gramophone
2548:Don Carlos
2536:Opera News
2365:1048057459
1970:References
1951:Don Carlos
1944:Recordings
1906:D clarinet
1898:Stage band
1876:tambourine
1874:, cannon,
1855:Percussion
1849:ophicleide
1758:pianissimo
1627:auto-da-fé
1617:media help
1563:Valladolid
1455:) in Spain
1357:Dominique
1172:Don Carlos
1141:Don Carlos
1080:Voice type
964:Birmingham
952:Guang Yang
928:John Caird
911:Gramophone
836:André Turp
752:as Eboli,
720:as Eboli,
670:Tito Gobbi
633:as Eboli,
596:In Italian
542:Don Carlos
477:Io la vidi
460:Don Carlos
444:Don Carlos
343:Don Carlos
197:auto-da-fé
194:scene and
146:Don Carlos
127:1867-03-11
102:Don Carlos
68:Librettist
40:Don Carlos
4110:Rigoletto
3883:(1857/81)
3830:Rigoletto
3820:Stiffelio
3780:Jérusalem
3596:Don Carlo
3530:Don Carlo
3508:Don Carlo
3464:Don Carlo
3457:Aria list
3080:(1998), "
3004:Don Carlo
2943:libretto.
2816:Don Carlo
2608:914649838
2596:244369432
2556:880331555
2301:Don Carlo
2141:777337258
1893:harmonium
1880:castanets
1864:bass drum
1845:trombones
1814:clarinets
1793:Woodwinds
1413:in winter
1290:soprano (
1119:Charles V
1113:Philip II
976:Liverpool
956:Edinburgh
921:DVD video
891:videotape
863:Luc Bondy
771:In French
689:La Fenice
602:Don Carlo
424:Don Carlo
402:Charles V
345:in French
211:Don Carlo
18:Don Carlo
4514:Category
4234:Florence
4226:Brindisi
4074:Falstaff
3950:Falstaff
3400:(1973),
3369:(1931),
3352:(1995),
3321:(1969),
3290:(2006),
3207:15625441
3137:(1994),
3109:(1997).
3031:Falstaff
3021:(1981),
2735:27 March
2573:, p. 95.
2341:52824860
2320:53213864
2133:21815071
1990:and the
1958:See also
1868:triangle
1841:trumpets
1818:bassoons
1765:tremolos
1653:Escorial
1649:insomnia
1374:Synopsis
1340:Mermant
1326:Gaspard
1308:soprano
1177:baritone
1170:Infante
1019:Bastille
934:and the
897:format.
895:HD video
782:La Scala
499:La Scala
231:Habsburg
184:of Spain
162:libretto
119:Premiere
97:Based on
89:Language
4439:Macbeth
4238:Trieste
4230:Busseto
4186:(1874)
4092:Macbeth
3943:(1887)
3933:(1871)
3903:(1859)
3853:(1853)
3843:(1853)
3833:(1851)
3760:Macbeth
3690:Nabucco
3452:Gallica
3230:2737784
3048:(Ed.),
2040:Requiem
1926:violins
1921:Strings
1860:timpani
1837:cornets
1802:piccolo
1607:(15:13)
1354:silent
1222:soprano
1017:at the
980:Toronto
968:Bristol
585:Ricordi
552:Macbeth
404:, act 5
258:Bologna
182:Infante
125: (
4534:Operas
4462:(2005)
4452:(1987)
4442:(1987)
4432:(1986)
4429:Otello
4422:(1983)
4412:(1953)
4402:(1906)
4399:Otello
4331:(1886)
4178:(1873)
4170:(1862)
4160:(1848)
4101:Otello
3953:(1893)
3940:Otello
3893:(1857)
3890:Aroldo
3823:(1850)
3813:(1849)
3803:(1849)
3793:(1848)
3783:(1847)
3773:(1847)
3753:(1846)
3750:Attila
3743:(1845)
3740:Alzira
3733:(1845)
3723:(1844)
3713:(1844)
3710:Ernani
3703:(1843)
3693:(1842)
3683:(1840)
3673:(1839)
3661:Operas
3604:
3598:(2010)
3582:
3576:(1996)
3560:
3554:(1986)
3538:
3532:(1985)
3516:
3494:
3488:(1965)
3472:
3466:(1960)
3408:
3387:
3360:
3343:
3329:
3312:
3298:
3281:
3273:
3258:
3236:
3228:
3222:351014
3220:
3205:
3182:
3169:831152
3167:
3145:
3127:
3099:
3092:
3070:
3056:
3037:
2820:
2606:
2594:
2554:
2363:
2339:
2318:
2139:
2131:
1934:cellos
1930:violas
1798:flutes
1761:chords
1446:, 1565
1411:France
1396:, 1560
1337:tenor
1323:tenor
960:Oxford
512:Naples
311:Verona
270:Modena
262:Naples
235:Valois
3165:JSTOR
2863:504).
1988:opera
1975:Notes
1914:tubas
1885:Other
1872:bells
1833:horns
1828:Brass
1806:oboes
1720:Act 5
1634:Act 4
1526:Act 3
1453:Yuste
1430:Act 2
1384:Act 1
1271:bass
1200:bass
1150:tenor
1076:Role
1053:Roles
990:with
946:with
919:." A
869:with
813:]
617:with
577:]
266:Milan
186:) by
157:to a
4449:Aida
4409:Aida
4056:Aida
3930:Aida
3602:IMDb
3580:IMDb
3558:IMDb
3536:IMDb
3514:IMDb
3492:IMDb
3470:IMDb
3406:ISBN
3396:and
3385:ISBN
3358:ISBN
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