1479:
1619:, 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.
369:
384:
1546:
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.
47:
1693:
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.
1055:
3596:
3574:
3552:
3530:
3508:
3486:
3464:
1415:
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.
1681:
1561:
468:(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.
400:
4499:
1378:
420:
1047:
276:
1428:
1745:
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
4178:
1657:
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.
1495:
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").
1499:
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.
1507:
1656:
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
1652:
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
1494:
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
1459:
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
533:
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
512:
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
338:
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)
287:
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
283:
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
261:
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
1700:
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
1692:
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
1406:
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
764:
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
311:
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
1744:
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
1545:
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
1498:
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
1466:
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
1490:
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
1414:
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
571:
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",
1664:
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
556:
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
2906:
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
1729:"). 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").
1736:
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,
684:
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,
306:
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
490:
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.
903:
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
503:
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
3440:
2851:
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.
1648:"). 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
784:
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
451:
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
1448:
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.
1586:
1653:
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.
2839:
262:
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.
1491:
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.
4577:
3165:
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
2931:
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
593:
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
1584:
2990:
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
1725:
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" / "
1640:, 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
383:
368:
1478:
1585:
816:, 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."
3190:. 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.
1463:
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").
288:
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 (
257:
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
479:, 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
464:. 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
1665:
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.
2634:
2986:
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
689:
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
3425:
1672:
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").
295:
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.
850:
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
436:
431:
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
253:
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
3410:
2709:
835:. 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."
2941:
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.
897:
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
483:, perhaps unsurprisingly, the Papal censor changed the Inquisitor into a Gran Cancelliere (Grand Chancellor) and the Monk/Emperor into a Solitario (Recluse).
2802:
4567:
4582:
630:
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
558:
794:
4562:
1570:
2370:
399:
3188:
Don Carlos, edizione integrale delle varie versioni in cinque e in quattro atti (comprendente gli inediti verdiani a cura di Ursula Günther)
4248:
1470:
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.
676:
After the discovery of music cut before the premiere, conductors began performing five-act versions that included some of it. In 1973 at
838:
Several notable productions of five-act French versions have been mounted more recently. A five-act French version was performed by the
756:
Today, as translated into Italian and presented in four-act and five-act versions, the opera has become part of the standard repertory.
2556:
Patrick O'Connor (January 2008). "Verdi, Don Carlos. Verdi's music gets respect but visually this 'complete' Carlos is incomplete..."
3434:
2459:
2287:
2269:
1952:
854:, was also shared with the opera houses in Brussels, Nice and Lyon. The performance by the Paris cast (March 1996), was conducted by
3624:
2399:
2772:
46:
2608:
2443:
3642:
3105:
3333:
3226:
943:
as Eboli, Andrea Silvestrelli as Philippe II, and Daniel Sumegi as the Grand Inquisitor. The production was taken on tour to
2424:
1534:
planned for the evening, she exchanges masks with Eboli, assuming that thereby her absence will not be noticed, and leaves.
1034:
as Eboli. The Metropolitan Opera presented the opera in French for the first time in 2022 in the Modena version, with tenor
2621:
1355:
Flemish envoys, Inquisitors, Ladies and Gentlemen of the Spanish Court, the people, Pages, Guards, Monks, Soldiers – chorus
4446:
2520:
2647:
2026:
Kimbell 2001, p. 1002, notes that "some of the deleted material from this served as the seed for the 'Lacrymosa' in the
2670:
339:
cuts were apparently made during the remaining performances. Despite a grandiose production designed by scenic artists
2717:
4557:
3398:
3377:
3350:
3319:
3302:
3288:
3271:
3263:
3248:
3172:
3135:
3117:
3089:
3082:
3060:
3046:
3027:
4552:
4124:
4070:
839:
312:
the pre-première cuts and later revisions, can be found in an integral edition prepared by the German musicologist
3100:
2056:
535:
4547:
4474:
3307:
2635:"Review: Brandon Jovanovich Triumphant in Historic “Don Carlos” Production – Houston Grand Opera, April 13, 2012"
359:(Act IV), it appears to have been a "problem opera" for the Opéra—it disappeared from its repertoire after 1869.
2383:
292:) in Act 2, Scene 1; and, thirdly, part of the dialogue between the King and Posa at the end of Act 2, Scene 2.
4572:
4346:
3688:
3221:. Chicago: The University of Chicago Press (1982 paperback reprint with a new introduction by Philip Gossett).
2502:
765:
broadcast by ORTF in France was given in 1967 with a nearly all-French cast, with the exception of the Italian
3430:
4527:
3141:
1856:
1254:
1107:
669:
as Elizabeth. This version has increasingly been performed elsewhere and has been recorded by, among others,
390:
1460:
physically resembles the Emperor, and recalls hearing rumors that the Emperor's ghost haunts the monastery.
249:
in October 1867, also in Italian translation. After some revisions by Verdi, it was performed in Italian in
4532:
4467:
4226:
3617:
3175:. Dover states this is an unabridged republication of the work published by G. Ricordi, Milan, undated, as
2689:
1227:
813:
750:
308:
1528:
Elisabeth is tired, and wishes to concentrate on the following day's coronation of the King. To avoid the
4206:
4004:
20:
3578:
1241:
843:
4316:
3968:
3445:
1996:
Kimbell 2001, in Holden p. 1002. Budden 1981, pp. 15–16, reinforces this with details of the play.
1129:
940:
790:
524:
476:
472:
303:
215:
207:
1467:
men swear eternal friendship (Duet: "Dieu, tu semas dans nos âmes" / "Dio, che nell'alma infondere").
999:
4336:
4177:
1220:
461:
3848:
2739:
4106:
3556:
3123:
1483:
4013:
1645:
1079:
971:
in October/November 2007 with a different cast. The production was performed several times by the
4502:
4406:
4241:
4222:
4214:
4115:
3788:
3610:
2694:
2489:
2433:. The production added the Prelude and Introduction to Act 1, music cut before the 1867 premiere.
2357:
2333:
1486:
from the première of the Milan version, Act I, Scene 2 (Act II, Scene 2 in the unrevised version)
1432:
1395:
932:
928:
777:
447:
must be performed in its entirety as it will be performed for the first time at the Paris Opéra.
180:
2395:
2312:
4164:
4052:
3034:
2201:
Verdi; Günther 1986, pp. XX, 263–276 (a), 623 (b). Budden 1981, pp. 28–29. Porter 1982, p. 362.
1938:
924:
786:
690:
348:
340:
1143:
568:. The La Scala première of the 1883 revised version took place on 10 January 1884 in Italian.
352:
4542:
4326:
4218:
4097:
2916:
2558:
1843:
1786:
1003:
1002:
performed the 1866 French version (before the ballet was composed) in a production staged by
916:
899:
513:
the opera without changing the plate numbers. This subsequently confused some authors, e.g.
344:
4537:
4061:
3898:
3888:
3490:
2420:
1701:
Inquisitor, and instantly obey his angry command to quiet down and pay homage to the King.
1382:
920:
546:
3995:
3595:
3573:
3551:
3529:
3507:
3485:
3463:
1054:
51:
Carlo Cornaglia's depiction of Act IV (the original Act V) in the 1884 La Scala production
8:
4426:
4186:
4079:
1781:
1201:
1170:
972:
650:
631:
563:
505:
211:
3338:
2238:
1726:
799:
666:
641:
Also influential was a 1958 staging of the 1886 five-act "Modena version" in Italian by
427:
in Florence in April–May 1869 which used the Italian translation by Achille de Lauzières
4416:
4386:
4234:
4155:
4088:
3858:
3718:
3668:
3468:
3153:
2429:
2274:
1719:
1101:
1031:
980:
890:
742:
730:
599:
456:
However, the Italian translation was first performed not in Italy but in London at the
227:
176:
96:
2780:
4283:
3590:
3568:
3546:
3524:
3502:
3480:
3458:
3394:
3373:
3346:
3329:
3315:
3298:
3284:
3267:
3259:
3244:
3222:
3214:
3206:
3191:
3168:
3131:
3113:
3085:
3078:
3056:
3042:
3023:
2826:
2592:
2580:
2540:
2349:
2325:
2304:
2125:
2117:
1263:
1246:
1148:
1114:
1035:
905:
894:
847:
766:
722:
714:
686:
457:
356:
242:
235:
219:
163:
122:
90:
3183:
1773:
1023:
1007:
681:
607:
313:
197:. The opera is most often performed in Italian translation, usually under the title
4436:
4396:
4043:
3938:
3868:
2386:, Royal Opera House Collections Online, Performance Database, accessed Oct. 1 2013.
1816:
1680:
1593:
1206:
a French princess initially betrothed to Don Carlos but then married to King Philip
1183:
1119:
1027:
988:
718:
702:
646:
603:
440:
158:
68:
3431:
Full musical score and vocal scores (Italian and French, 4-act and 5-act versions)
3095:
710:
508:), which replaced some of the previously cut material, and (b) the removal of the
190:
100:
4522:
4172:
4145:
3748:
3534:
3416:
3276:
2028:
1984:
1011:
976:
855:
746:
662:
642:
619:
540:
443:, offering the Milan publisher the Italian rights, but insisting that the opera:
424:
223:
147:
871:
4255:
3986:
3738:
3728:
3658:
3633:
3109:
3007:
1909:
1530:
1019:
1015:
875:
867:
863:
859:
828:
805:
781:
706:
697:
mounted an expanded five-act version in Italian at La Scala. The cast included
694:
615:
573:
143:
38:
1175:
939:
as Elizabeth, Paul Charles Clarke as Don Carlos, Scott Hendricks as Rodrigue,
154:
63:
4516:
4366:
4297:
4290:
3708:
3382:
3365:
3355:
3066:
2116:
Budden 1981, p. 26; for the Italian translation by Achille de Lauzières, see
1860:
1810:
1749:
1236:
1092:
984:
936:
832:
820:
738:
734:
698:
635:
518:
480:
2348:, 2008, pp. 1133–1134. Don Carlo: dramma lirica in quattro atti, DVD video,
1615:
1506:
1452:
Don Carlos enters, anguished that the woman he loves is now his stepmother.
824:
185:
4022:
3977:
3959:
3828:
3798:
3758:
3420:
3177:
Giuseppe Verdi, Don Carlo—Partitura (Valevole per l'edizione in 4 e 5 atti)
2675:
2588:
2353:
1798:
992:
975:
from 13 April 2012 until 28 April. The Houston production was conducted by
809:
726:
627:
623:
602:, the four-act version was performed without the ballet in a production by
514:
3768:
2596:
2584:
2544:
2129:
4484:
4269:
4262:
3838:
3386:
3195:
2987:
2329:
2308:
2121:
1926:
1821:
1641:
1280:
1215:
960:
670:
654:
611:
595:
374:
231:
139:
34:
3583:
3561:
3539:
3517:
3495:
3473:
3451:
3218:
4356:
4276:
3778:
3210:
2656:
1980:
1898:
1894:
1864:
1837:
1746:
1605:
1551:
1068:
952:
658:
460:, Covent Garden on 4 June 1867, where it was produced and conducted by
230:. It was commissioned and produced by the Théâtre Impérial de l'Opéra (
3157:
823:
broadcast the opera in June 1973 with the roles of Don Carlos sung by
3818:
3808:
1881:
1868:
1852:
1377:
964:
944:
909:
879:
851:
677:
1427:
316:, first published in 1980 and in a second, revised version in 1986.
4578:
Cultural depictions of Ana de Mendoza y de Silva, Princess of Éboli
1833:
1802:
1637:
1510:
The historical Princess of Eboli, Ana de Mendoza, by unknown artist
1165:
1046:
883:
770:
487:
419:
150:
3678:
3602:
1848:
1829:
1825:
1806:
1790:
1753:
1210:
968:
956:
246:
170:
525:
1882/83 and 1886 revisions: "Milan version" and "Modena version"
275:
3928:
3878:
3698:
1914:
1399:
948:
500:
299:
284:
Elisabeth and Eboli during the insurrection in the same scene.
258:
250:
245:
in London in June 1867. The first performance in Italy was in
1976:
1922:
1918:
1441:
1138:
254:
1768:
Except as noted, the instrumentation shown here is from the
1058:
Francesco Tamagno, the Don Carlo in the 1884 Italian version
405:
Poster depicting the death of Rodrigo in the King's presence
3918:
2521:"Recordings, Video. Verdi: Don Carlos, Théâtre du Châtelet"
1902:
1877:
1794:
552:
19:
This article is about the Verdi opera. For other uses, see
3148:, edited by Ursula Günther (and Lucian Petazzoni). 1980."
1253:
A monk, who at the end of Act 5 appears as Charles-Quint (
486:
This version of the opera was first performed in Milan at
3343:
Nineteenth-Century Italian Opera: From Rossini to Puccini
2242:
919:
of the largely uncut Paris version in French between the
729:
conducted an expanded five-act version in Italian at the
410:
769:
as Rodrigue. A five-act French version was performed at
2779:. Instituto Nazionale di Studi Verdiani. Archived from
2303:
Don Carlo, Opera in 4 acts; originally in 5, Music CD,
206:
The opera's story is based on conflicts in the life of
1440:
Scene 1: The monastery of Saint-Just (San Jerónimo de
3258:. Chicago & London: University of Chicago Press.
3167:. Mineola, New York: Dover Publications, 2001, 2011.
1407:
of Spain, will bring the war to an end, and departs.
3152:, vol. 35, no. 2 (Summer, 1982), pp. 360–370.
3077:, Vol. One. London: Macmillan Publishers, Inc. 1998
967:. It was performed by the Canadian Opera Company in
634:(1978 audio recording and 1986 video recording) and
99:(and incidents borrowed from a contemporary play by
2829:
at the time, but not mentioned as such in the opera
2609:
Archive copy of "Don Carlos, Grand opera in 5 Acts"
2055:Porter, Andrew. "Musical Events: Proper Bostonian"
226:demanded that she be married instead to his father
3328:, Oxford & New York: Oxford University Press.
987:as Elizabeth, Andrea Silvestrelli as Philippe II,
2907:review of the 1980 edition (Porter 1982, p. 367).
2444:"Opera: New Production Of ‘Don Carlo’ at the Met"
2188:
2186:
915:On 17 September 2005 a co-production directed by
842:in Brussels in 1983. A co-production between the
749:as Rodrigo, Nicolai Ghiaurov as King Philip, and
423:Title page of a libretto for performances at the
4514:
3130:, Oxford and New York: Oxford University Press.
2637:at operawarhorses.com. Retrieved 1 January 2022.
2572:
2570:
2568:
1524:Scene 1: Evening in the Queen's garden in Madrid
576:as "a new edition in five acts without ballet".
2910:
2400:"Indifferently recorded, frantically conducted"
471:The Italian premiere on 27 October 1867 at the
179:. In addition, several incidents, of which the
3254:De Van, Gilles (trans. Gilda Roberts) (1998),
2861:Verdi; Günther 1986, pp. 467 (letter N) – 468.
2264:
2262:
2260:
2183:
1632:Scene 1: Dawn in King Philip's study in Madrid
241:The first performance in Italian was given at
189:were the most substantial, were borrowed from
3618:
3256:Verdi's Theater: Creating Drama Through Music
3150:Journal of the American Musicological Society
2840:p. 357 of the 1867 Escudier piano-vocal score
2671:"A less-cut operatic 'Don Carlos' in Houston"
2622:"HGO rises to the occasion with 'Don Carlos'"
2565:
2371:The Penguin Guide to Recorded Classical Music
1684:Baril Gédéon, "Il Maestro Verdi", cartoon by
725:as the Grand Inquisitor. On 5 February 1979,
271:Pre-première cuts and first published edition
4249:Orchestra Sinfonica di Milano Giuseppe Verdi
3439:Visual evidence of the Parisian premiere on
2425:Music View: 'Don Carlo'—Great But Difficult"
2141:Quoted and translated in Budden 1981, p. 27.
2051:
2049:
2047:
1688:, 14 March 1867. (Museum of the Paris Opera)
529:The idea of reducing the scope and scale of
494:
4568:Operas based on works by Friedrich Schiller
3326:The New Grove Guide to Verdi and His Operas
3281:Divas and Scholar: Performing Italian Opera
3243:, London: John Calder; New York: Riverrun.
2758:
2756:
2324:Don Carlos: opera in four acts, DVD video,
2257:
538:, who had worked on French translations of
3625:
3611:
3594:
3572:
3550:
3528:
3506:
3484:
3462:
3297:(1983), New York: Dodd, Mead and Company.
1737:confirming Carlos's putative culpability.
1134:Infante of Spain, son and heir to the King
991:as Eboli, Scott Hendricks as Rodrigue and
927:(Toronto) was premiered by the WNO at the
579:
499:Following the unsuccessful performance in
329:
45:
4583:Cultural depictions of Philip II of Spain
3435:International Music Score Library Project
2971:
2044:
1953:Cultural depictions of Philip II of Spain
557:translation by de Lauzières, was made by
4563:Opera world premieres at the Paris Opera
3283:, Chicago: University of Chicago Press.
3053:Sarah Caldwell; The First Woman of Opera
2753:
2442:Schonberg, Harold C. (6 February 1979).
2013:
2011:
1679:
1505:
1477:
1426:
1381:The historical Don Carlos - portrait by
1376:
1053:
1045:
418:
274:
210:(1545–1568). Though he was betrothed to
3314:, New York: Da Capo Press, Inc., 1969.
2624:at chron.com. Retrieved 1 January 2022.
2158:
2156:
1431:The historical Elizabeth of Valois, by
789:in the title role, the French-Canadian
4515:
2398:at operadis-opera-discography.org.uk.
1550:Scene 2: In front of the Cathedral of
435:was prepared in the autumn of 1866 by
319:
265:
214:, part of the peace treaty ending the
3606:
3055:. Lanham, Maryland: Scarecrow Press.
2995:" but is rarely used in its entirety.
2008:
882:and is now available in a remastered
439:. On 18 November 1866 Verdi wrote to
343:and Joseph Thierry (Acts I and III),
3144:(1982), Review of: "Giuseppe Verdi.
2492:at operadis-opera-discography.org.uk
2360:at operadis-opera-discography.org.uk
2346:The Gramophone Classical Music Guide
2336:at operadis-opera-discography.org.uk
2315:at operadis-opera-discography.org.uk
2153:
1050:Jean Morère, the original Don Carlos
645:company, Covent Garden, directed by
475:, conducted by Verdi's close friend
2813:. L'Almanacco di Gherardo Casaglia
1901:, 2 trumpets in D, 4 horns in D, 2
1613:Preparations are being made for an
931:. The performance was conducted by
598:'s first season as director of the
81:French, also in Italian translation
13:
3632:
3360:Giuseppe Verdi: His Life and Works
3239:Batchelor, Jennifer (ed.) (1992),
3041:, New York: Penguin Putnam, 2001.
2669:Associated Press (23 April 2012),
2460:Met performance of 5 February 1979
1763:
1559:
14:
4594:
3404:
3146:Don Carlos: Edizione integrale...
3112:. New York: G. P. Putnam's Sons.
3075:The New Grove Dictionary of Opera
2897:Verdi; Günther 1986, pp. 522–527.
2888:Verdi; Günther 1986, pp. 493–497.
2879:Verdi; Günther 1986, pp. 479–492.
2870:Verdi; Günther 1986, pp. 513–521.
2707:
2633:William Burnett (17 April 2012),
2519:William R. Braun (January 2004),
2098:Kimbell 2001, in Holden, p. 1003.
1474:Scene 2: A garden near Saint-Just
693:at the London Coliseum. In 1978,
4498:
4497:
4448:Giuseppe Verdi's Rigoletto Story
4176:
3411:Verdi: "The story" and "History"
3295:Verdi: His Music, Life and Times
2060:, 2 June 1973, pp. 102–108
2005:Verdi; Günther 1986, pp. XX–XXI.
1604:Problems playing this file? See
1582:
1157:Marquis of Posa, a friend of the
819:The BBC Concert Orchestra under
793:as Élisabeth, the French singer
398:
382:
367:
298:In 1969, at a Verdi congress in
234:) and given its premiere at the
3513:The Metropolitan Opera Presents
3345:, Portland, OR: Amadeus Press.
2980:
2977:Verdi; Günther 1986, p. XXXVII.
2962:
2953:
2944:
2935:
2925:
2900:
2891:
2882:
2873:
2864:
2855:
2845:
2832:
2820:
2795:
2765:
2732:
2701:
2688:Heidi Waleson (24 April 2012),
2682:
2663:
2652:, Houston Grand Opera, 4/13/12"
2640:
2627:
2620:Everett Evans (17 April 2012),
2614:
2602:
2550:
2530:
2513:
2495:
2483:
2474:
2465:
2453:
2436:
2414:
2405:
2389:
2384:Don Carlos, 9 May 1958, Evening
2377:
2363:
2339:
2318:
2297:
2281:
2248:
2231:
2222:
2213:
2204:
2195:
2174:
2165:
2144:
2135:
2110:
2101:
2092:
2083:
1644:(Aria: "Elle ne m'aime pas" / "
733:in New York. The cast included
324:
3689:I Lombardi alla prima crociata
3659:Oberto, Conte di San Bonifacio
3391:Verdi: The Man and His Letters
3370:The Oxford Dictionary of Opera
2611:, originally at johncaird.com.
2270:"'Don Carlos,' Early and Late"
2268:David Stevens (6 March 1996).
2074:
2065:
2035:
2020:
1999:
1990:
1969:
1339:a lady-in-waiting to Elisabeth
164:Don Karlos, Infant von Spanien
1:
2690:"Soprano Showdown in Houston"
1958:
1932:
878:as Eboli. It was recorded on
536:Charles-Louis-Étienne Nuitter
161:, based on the dramatic play
4468:Casa di Riposo per Musicisti
4213:Theatres named after Verdi (
3312:The Complete Operas of Verdi
2968:Verdi; Günther 1986, p. 669.
2950:Verdi; Günther 1986, p. 651.
1772:, second edition, edited by
1308:a Spanish delegate to France
302:, the American musicologist
7:
4207:Memorials to Giuseppe Verdi
3073:", in Stanley Sadie (ed.),
3039:The New Penguin Opera Guide
2827:Diego, Cardinal de Espinosa
2679:. Retrieved 1 January 2022.
2660:. Retrieved 1 January 2022.
2646:Gregory Barnett (4/13/12),
1946:
1905:, 2 trombones, 2 bass tubas
1362:
840:Théâtre Royal de la Monnaie
21:Don Carlos (disambiguation)
10:
4599:
4317:Portrait of Giuseppe Verdi
3393:, New York, Vienna House.
3101:The New Kobbé's Opera Book
3033:Kimbell, David (2001), in
2920:, 1867 libretto, pp. 81–82
2801:Casaglia, Gherardo (2005).
2292:(6 November 1950) Telecast
1936:
1106:the King of Spain, son of
1100:Philippe II (Filippo II /
812:as Philippe. According to
521:, who dated them to 1883.
473:Teatro Comunale di Bologna
279:Giuseppe Verdi, about 1870
208:Carlos, Prince of Asturias
195:Philippe II, Roi d'Espagne
18:
4494:
4459:
4378:
4337:Verdi, the King of Melody
4307:
4198:
4165:String Quartet in E minor
4136:
4033:
3950:
3649:
3640:
2462:at the Met Opera Archive.
2219:Porter 1982, pp. 362–363.
1636:Alone and suffering from
1592:Performed in 2000 by the
1353:
1221:Abigaille Bruschi-Chiatti
1089:10 January 1884
995:as the Grand Inquisitor.
753:as the Grand Inquisitor.
495:1872 revisions for Naples
415:in an Italian translation
107:
85:
77:
56:
44:
33:
28:
4558:Operas by Giuseppe Verdi
4005:Libiamo ne' lieti calici
3557:Salzburg Easter Festival
3163:Verdi, Giuseppe (2011).
3124:Phillips-Matz, Mary Jane
3051:Kessler, Daniel (2008),
2539:. Kultur Bluray video .
2471:Kessler 2008, pp. 44–45.
1893:) in E-flat and B-flat,
1708:
1622:
1514:
1418:
1372:
1242:Pauline Guéymard-Lauters
1110:and father of Don Carlos
1041:
912:recording is available.
638:(1992 video recording).
4553:Italian-language operas
4242:Giuseppe Verdi Monument
3969:Bella figlia dell'amore
3789:La battaglia di Legnano
3368:and West, Ewan (1992),
3362:, New York: Knopf, 1931
2695:The Wall Street Journal
2591:. Arthaus Musik, 2010.
2228:Budden 1981, pp. 31–38.
2017:Budden 1981, pp. 23–25.
1756:played by the strings.
1578:) from Act III, Scene 2
1433:Juan Pantoja de la Cruz
1396:Forest of Fontainebleau
1075:11 March 1867
1000:Opéra National de Paris
929:Wales Millennium Center
780:under the direction of
778:Opera Company of Boston
580:20th century and beyond
572:which was published by
181:Forest of Fontainebleau
112:11 March 1867
16:Opera by Giuseppe Verdi
4548:French-language operas
3849:Les vêpres siciliennes
3448:from aria-database.com
3324:Parker, Roger (2007),
3201:Walker, Frank (1962),
2374:, 2008, pp. 1460–1461.
2089:Budden 1981, p. 25–26.
1897:, 2 clarinets in A, 2
1689:
1564:
1511:
1487:
1436:
1386:
1337:Countess of Aremberg,
1257:), thought to be dead
1232:an aristocrat in court
1182:Le Grand Inquisiteur (
1059:
1051:
925:Canadian Opera Company
893:production, staged by
691:English National Opera
428:
349:Jean-Baptiste Lavastre
341:Charles-Antoine Cambon
280:
218:between the Houses of
216:Italian War of 1551–59
4573:Operas based on plays
4014:Un dì, felice, eterea
1985:the Spanish honorific
1683:
1572:Le ballet de la reine
1563:
1509:
1481:
1430:
1380:
1200:Élisabeth de Valois (
1124:Alessandro Silvestri
1080:François George-Hainl
1057:
1049:
1004:Krzysztof Warlikowski
721:as King Phillip, and
422:
351:(Acts II and V), and
278:
4528:Operas set in France
4476:Verdi Transcriptions
4126:Un ballo in maschera
4072:La forza del destino
3899:La forza del destino
3889:Un ballo in maschera
3643:List of compositions
3491:Deutsche Oper Berlin
3417:1867 French libretto
3241:Don Carlos/Don Carlo
2959:Budden 1981, p. 152.
2480:Budden 1981, p. 155.
2421:Schonberg, Harold C.
2294:, Met Opera Archive.
2237:1884 Milan version:
2192:Porter 1982, p. 368.
2180:Walker 1962, p. 417.
2171:Walker 1962, p. 326.
2107:Budden 1981, p. 156.
2080:Verdi; Günther 1986.
1975:In the title of the
1383:Sofonisba Anguissola
1306:The Count of Lerma,
1294:A Voice from Heaven
1273:Thibault (Tebaldo),
1216:Marie-Constance Sass
1195:Francesco Navarrini
1184:The Grand Inquisitor
1155:Rodrigue (Rodrigo),
1014:, the cast included
921:Welsh National Opera
776:On 22 May 1973, the
665:as King Phillip and
653:. The cast included
547:La forza del destino
437:Achille de Lauzières
138:is an 1867 five-act
4533:Operas set in Spain
4308:Cultural depictions
4187:Quattro pezzi sacri
4035:Opera discographies
3579:Théâtre du Châtelet
3413:on giuseppeverdi.it
3205:. New York: Knopf.
3022:. London: Cassell.
3012:The Operas of Verdi
2423:(4 February 1979).
2411:Kobbé 1997, p. 901.
2254:Budden 1981, p. 39.
2239:Notice de spectacle
2210:Budden 1981, p. 29.
2162:Budden 1981, p. 28.
2150:Budden 1981, p. 27.
2041:Budden 1981, p. 25.
1983:, "Don" is used as
1202:Elisabeth of Valois
1171:Jean-Baptiste Faure
1038:in the title role.
1030:as Philippe II and
973:Houston Grand Opera
874:as Philippe II and
844:Théâtre du Châtelet
804:as Princess Eboli,
713:in the title role,
651:Carlo Maria Giulini
632:Herbert von Karajan
610:in the title role,
506:Antonio Ghislanzoni
389:Costume design for
363:1867 Paris premiere
353:Auguste Alfred Rubé
320:Performance history
290:J'étais en Flandres
266:Composition history
212:Elisabeth of Valois
4235:Milan Conservatory
4156:Inno delle nazioni
4137:Other compositions
3859:I vespri siciliani
3669:Un giorno di regno
3469:Metropolitan Opera
3426:Libretto (Italian)
3128:Verdi: A Biography
2762:Budden 1981, p. 4.
2708:Mudge, Stephen J.
2448:The New York Times
2430:The New York Times
2275:The New York Times
1889:: Offstage horns (
1770:Edizione integrale
1720:monastery of Yuste
1690:
1646:Ella giammai m'amò
1565:
1512:
1488:
1437:
1387:
1332:Angelo Fiorentini
1318:Angelo Fiorentini
1268:Leopoldo Cromberg
1060:
1052:
981:Brandon Jovanovich
891:Vienna State Opera
831:, and Rodrigue by
743:Giuseppe Giacomini
731:Metropolitan Opera
600:Metropolitan Opera
429:
345:Édouard Desplechin
281:
238:on 11 March 1867.
228:Philip II of Spain
177:Friedrich Schiller
97:Friedrich Schiller
4510:
4509:
4350:(1982 miniseries)
4347:The Life of Verdi
4284:Verdi, California
3996:La donna è mobile
3599:, The Royal Opera
3334:978-0-19-531314-7
3227:978-0-226-87132-5
3186:, editor (1986),
3182:Verdi, Giuseppe;
3014:, Volume 3: From
2720:on 8 January 2018
1676:Scene 2: A prison
1587:
1360:
1359:
1275:page to Elisabeth
1264:Armand Castelmary
1255:Emperor Charles V
1247:Giuseppina Pasqua
1149:Francesco Tamagno
1036:Matthew Polenzani
906:Bertrand de Billy
895:Peter Konwitschny
846:in Paris and the
827:, Philippe II by
767:Matteo Manuguerra
723:Evgeny Nesterenko
715:Piero Cappuccilli
687:Charles Mackerras
649:and conducted by
626:as Philip II and
458:Royal Opera House
357:Philippe Chaperon
236:Salle Le Peletier
131:
130:
123:Salle Le Peletier
4590:
4501:
4500:
4487:
4480:
4470:
4460:Related articles
4452:
4442:
4432:
4422:
4412:
4402:
4392:
4379:Film adaptations
4371:
4361:
4351:
4341:
4331:
4321:
4300:
4293:
4286:
4279:
4272:
4265:
4258:
4251:
4244:
4237:
4230:
4209:
4191:
4181:
4180:
4173:Messa da Requiem
4168:
4160:
4150:
4129:
4120:
4111:
4102:
4093:
4084:
4075:
4066:
4057:
4048:
4036:
4026:
4017:
4008:
3999:
3990:
3981:
3972:
3963:
3943:
3933:
3923:
3913:
3903:
3893:
3883:
3873:
3869:Simon Boccanegra
3863:
3853:
3843:
3833:
3823:
3813:
3803:
3793:
3783:
3773:
3763:
3753:
3743:
3733:
3723:
3713:
3703:
3693:
3683:
3673:
3663:
3627:
3620:
3613:
3604:
3603:
3598:
3576:
3554:
3532:
3510:
3488:
3466:
3433:: Scores at the
3339:Pistone, Danièle
3308:Osborne, Charles
3293:Martin, George,
3213:. London: Dent.
3106:Earl of Harewood
3104:, edited by the
2996:
2984:
2978:
2975:
2969:
2966:
2960:
2957:
2951:
2948:
2942:
2939:
2933:
2929:
2923:
2914:
2908:
2904:
2898:
2895:
2889:
2886:
2880:
2877:
2871:
2868:
2862:
2859:
2853:
2849:
2843:
2836:
2830:
2824:
2818:
2816:
2811:10 January 1884"
2810:
2799:
2793:
2792:
2790:
2788:
2769:
2763:
2760:
2751:
2750:
2749:
2748:
2741:MOoD Detail Page
2736:
2730:
2729:
2727:
2725:
2716:. Archived from
2705:
2699:
2686:
2680:
2667:
2661:
2644:
2638:
2631:
2625:
2618:
2612:
2606:
2600:
2574:
2563:
2554:
2548:
2534:
2528:
2517:
2511:
2510:
2499:
2493:
2487:
2481:
2478:
2472:
2469:
2463:
2457:
2451:
2440:
2434:
2418:
2412:
2409:
2403:
2393:
2387:
2381:
2375:
2367:
2361:
2343:
2337:
2322:
2316:
2301:
2295:
2285:
2279:
2266:
2255:
2252:
2246:
2235:
2229:
2226:
2220:
2217:
2211:
2208:
2202:
2199:
2193:
2190:
2181:
2178:
2172:
2169:
2163:
2160:
2151:
2148:
2142:
2139:
2133:
2114:
2108:
2105:
2099:
2096:
2090:
2087:
2081:
2078:
2072:
2069:
2063:
2053:
2042:
2039:
2033:
2024:
2018:
2015:
2006:
2003:
1997:
1994:
1988:
1973:
1727:Tu che le vanità
1594:U.S. Marine Band
1589:
1588:
1562:
1349:Angelina Pirola
1286:Leonia Levielly
1120:Louis-Henri Obin
1062:
1061:
1028:Ildar Abdrazakov
989:Christine Goerke
808:as Rodrigue and
803:
719:Nicolai Ghiaurov
703:Elena Obraztsova
667:Gré Brouwenstijn
647:Luchino Visconti
604:Margaret Webster
589:Performances of
567:
559:Angelo Zanardini
510:allegro marziale
441:Giovanni Ricordi
402:
386:
371:
159:Camille du Locle
119:
117:
69:Camille du Locle
49:
26:
25:
4598:
4597:
4593:
4592:
4591:
4589:
4588:
4587:
4513:
4512:
4511:
4506:
4490:
4483:
4473:
4466:
4455:
4445:
4435:
4425:
4415:
4405:
4395:
4385:
4374:
4364:
4354:
4344:
4334:
4324:
4314:
4303:
4296:
4289:
4282:
4275:
4268:
4261:
4254:
4247:
4240:
4233:
4212:
4205:
4194:
4184:
4171:
4163:
4153:
4146:Suona la tromba
4143:
4132:
4123:
4114:
4105:
4096:
4087:
4078:
4069:
4060:
4051:
4042:
4034:
4029:
4020:
4011:
4002:
3993:
3984:
3975:
3966:
3957:
3946:
3936:
3926:
3916:
3906:
3896:
3886:
3876:
3866:
3862:(December 1855)
3856:
3846:
3836:
3826:
3816:
3806:
3796:
3786:
3776:
3766:
3756:
3746:
3736:
3726:
3719:Giovanna d'Arco
3716:
3706:
3696:
3686:
3676:
3666:
3656:
3645:
3636:
3631:
3535:The Royal Opera
3407:
3372:New York: OUP.
3277:Gossett, Philip
2999:
2985:
2981:
2976:
2972:
2967:
2963:
2958:
2954:
2949:
2945:
2940:
2936:
2930:
2926:
2915:
2911:
2905:
2901:
2896:
2892:
2887:
2883:
2878:
2874:
2869:
2865:
2860:
2856:
2850:
2846:
2837:
2833:
2825:
2821:
2814:
2808:
2800:
2796:
2786:
2784:
2783:on 5 March 2012
2771:
2770:
2766:
2761:
2754:
2746:
2744:
2738:
2737:
2733:
2723:
2721:
2706:
2702:
2687:
2683:
2668:
2664:
2645:
2641:
2632:
2628:
2619:
2615:
2607:
2603:
2575:
2566:
2555:
2551:
2535:
2531:
2518:
2514:
2507:ROH Collections
2501:
2500:
2496:
2488:
2484:
2479:
2475:
2470:
2466:
2458:
2454:
2441:
2437:
2419:
2415:
2410:
2406:
2394:
2390:
2382:
2378:
2368:
2364:
2344:
2340:
2323:
2319:
2302:
2298:
2286:
2282:
2267:
2258:
2253:
2249:
2236:
2232:
2227:
2223:
2218:
2214:
2209:
2205:
2200:
2196:
2191:
2184:
2179:
2175:
2170:
2166:
2161:
2154:
2149:
2145:
2140:
2136:
2124:(vocal score);
2115:
2111:
2106:
2102:
2097:
2093:
2088:
2084:
2079:
2075:
2070:
2066:
2054:
2045:
2040:
2036:
2025:
2021:
2016:
2009:
2004:
2000:
1995:
1991:
1974:
1970:
1961:
1949:
1944:
1935:
1766:
1764:Instrumentation
1711:
1625:
1611:
1610:
1602:
1600:
1599:
1598:
1597:
1590:
1583:
1580:
1566:
1560:
1517:
1421:
1375:
1365:
1090:
1088:
1086:
1085:Revised version
1078:
1076:
1074:
1044:
1018:as Don Carlos,
1012:Philippe Jordan
1010:. Conducted by
983:as Don Carlos,
977:Patrick Summers
862:as Don Carlos,
856:Antonio Pappano
797:
773:Milan in 1970.
747:Sherrill Milnes
663:Boris Christoff
643:The Royal Opera
620:Fedora Barbieri
582:
561:
527:
497:
425:Teatro Pagliano
417:
406:
403:
394:
387:
378:
372:
336:
327:
322:
268:
148:French-language
127:
126:
120:
115:
113:
94:
73:
52:
24:
17:
12:
11:
5:
4596:
4586:
4585:
4580:
4575:
4570:
4565:
4560:
4555:
4550:
4545:
4540:
4535:
4530:
4525:
4508:
4507:
4495:
4492:
4491:
4489:
4488:
4481:
4471:
4463:
4461:
4457:
4456:
4454:
4453:
4443:
4433:
4423:
4413:
4403:
4393:
4382:
4380:
4376:
4375:
4373:
4372:
4362:
4352:
4342:
4332:
4327:Giuseppe Verdi
4322:
4311:
4309:
4305:
4304:
4302:
4301:
4294:
4287:
4280:
4273:
4266:
4259:
4256:Verdi (crater)
4252:
4245:
4238:
4231:
4210:
4202:
4200:
4196:
4195:
4193:
4192:
4182:
4169:
4161:
4151:
4140:
4138:
4134:
4133:
4131:
4130:
4121:
4112:
4103:
4094:
4085:
4076:
4067:
4058:
4049:
4039:
4037:
4031:
4030:
4028:
4027:
4018:
4009:
4000:
3991:
3987:Di quella pira
3982:
3973:
3964:
3954:
3952:
3951:Opera excerpts
3948:
3947:
3945:
3944:
3934:
3924:
3914:
3904:
3894:
3884:
3874:
3864:
3854:
3844:
3834:
3824:
3814:
3804:
3794:
3784:
3774:
3764:
3754:
3744:
3734:
3724:
3714:
3704:
3694:
3684:
3674:
3664:
3653:
3651:
3647:
3646:
3641:
3638:
3637:
3634:Giuseppe Verdi
3630:
3629:
3622:
3615:
3607:
3601:
3600:
3581:
3559:
3537:
3515:
3493:
3471:
3449:
3443:
3437:
3428:
3423:
3414:
3406:
3405:External links
3403:
3402:
3401:
3380:
3363:
3353:
3336:
3322:
3305:
3291:
3274:
3252:
3231:
3230:
3199:
3184:Ursula Günther
3180:
3161:
3142:Porter, Andrew
3139:
3121:
3110:Antony Peattie
3093:
3064:
3049:
3035:Holden, Amanda
3031:
3008:Budden, Julian
2998:
2997:
2979:
2970:
2961:
2952:
2943:
2934:
2924:
2909:
2899:
2890:
2881:
2872:
2863:
2854:
2844:
2831:
2819:
2794:
2764:
2752:
2731:
2700:
2681:
2662:
2639:
2626:
2613:
2601:
2564:
2549:
2529:
2512:
2494:
2482:
2473:
2464:
2452:
2435:
2413:
2404:
2388:
2376:
2362:
2338:
2317:
2296:
2280:
2256:
2247:
2230:
2221:
2212:
2203:
2194:
2182:
2173:
2164:
2152:
2143:
2134:
2109:
2100:
2091:
2082:
2073:
2064:
2058:The New Yorker
2043:
2034:
2019:
2007:
1998:
1989:
1967:
1960:
1957:
1956:
1955:
1948:
1945:
1937:Main article:
1934:
1931:
1930:
1929:
1906:
1891:left and right
1884:
1871:
1840:
1813:
1774:Ursula Günther
1765:
1762:
1761:
1760:
1742:
1741:
1734:
1733:
1715:
1714:
1710:
1707:
1706:
1705:
1698:
1697:
1670:
1669:
1662:
1661:
1629:
1628:
1624:
1621:
1601:
1591:
1581:
1569:
1568:
1567:
1558:
1557:
1556:
1543:
1542:
1539:
1538:
1531:divertissement
1521:
1520:
1516:
1513:
1504:
1503:
1484:Carlo Ferrario
1482:Set design by
1457:
1456:
1425:
1424:
1420:
1417:
1412:
1411:
1391:
1390:
1374:
1371:
1370:
1369:
1364:
1361:
1358:
1357:
1351:
1350:
1347:
1344:
1341:
1334:
1333:
1330:
1327:
1324:
1320:
1319:
1316:
1313:
1310:
1303:
1302:
1300:
1298:
1295:
1291:
1290:
1289:Amelia Garten
1287:
1284:
1277:
1270:
1269:
1266:
1261:
1258:
1250:
1249:
1244:
1239:
1234:
1228:Princess Eboli
1224:
1223:
1218:
1213:
1208:
1197:
1196:
1193:
1190:
1187:
1179:
1178:
1173:
1168:
1163:
1152:
1151:
1146:
1141:
1136:
1126:
1125:
1122:
1117:
1112:
1097:
1096:
1083:
1071:
1066:
1043:
1040:
1024:Ludovic Tézier
1022:as Elisabeth,
1020:Sonya Yoncheva
1016:Jonas Kaufmann
876:Waltraud Meier
868:Thomas Hampson
866:as Elisabeth,
864:Karita Mattila
860:Roberto Alagna
829:Joseph Rouleau
806:William Dooley
791:Édith Tremblay
787:John Alexander
782:Sarah Caldwell
745:as Don Carlo,
737:as Elizabeth,
707:Viorica Cortez
701:as Elizabeth,
695:Claudio Abbado
682:Georges Prêtre
657:as Don Carlo,
616:Robert Merrill
614:as Elizabeth,
608:Jussi Björling
581:
578:
526:
523:
496:
493:
477:Angelo Mariani
454:
453:
416:
409:
408:
407:
404:
397:
395:
388:
381:
379:
373:
366:
364:
335:
328:
326:
323:
321:
318:
314:Ursula Günther
267:
264:
144:Giuseppe Verdi
129:
128:
121:
111:
109:
105:
104:
87:
83:
82:
79:
75:
74:
72:
71:
66:
60:
58:
54:
53:
50:
42:
41:
39:Giuseppe Verdi
31:
30:
15:
9:
6:
4:
3:
2:
4595:
4584:
4581:
4579:
4576:
4574:
4571:
4569:
4566:
4564:
4561:
4559:
4556:
4554:
4551:
4549:
4546:
4544:
4541:
4539:
4536:
4534:
4531:
4529:
4526:
4524:
4521:
4520:
4518:
4505:
4504:
4493:
4486:
4482:
4479:
4477:
4472:
4469:
4465:
4464:
4462:
4458:
4450:
4449:
4444:
4440:
4439:
4434:
4430:
4429:
4424:
4420:
4419:
4414:
4410:
4409:
4404:
4400:
4399:
4394:
4390:
4389:
4384:
4383:
4381:
4377:
4369:
4368:
4367:Risorgimento!
4363:
4359:
4358:
4353:
4349:
4348:
4343:
4339:
4338:
4333:
4329:
4328:
4323:
4319:
4318:
4313:
4312:
4310:
4306:
4299:
4298:Verdi, Nevada
4295:
4292:
4291:Verdi, Kansas
4288:
4285:
4281:
4278:
4274:
4271:
4267:
4264:
4260:
4257:
4253:
4250:
4246:
4243:
4239:
4236:
4232:
4228:
4224:
4220:
4216:
4211:
4208:
4204:
4203:
4201:
4197:
4189:
4188:
4183:
4179:
4174:
4170:
4166:
4162:
4158:
4157:
4152:
4148:
4147:
4142:
4141:
4139:
4135:
4128:
4127:
4122:
4119:
4118:
4113:
4110:
4109:
4104:
4101:
4100:
4095:
4092:
4091:
4086:
4083:
4082:
4077:
4074:
4073:
4068:
4065:
4064:
4059:
4056:
4055:
4050:
4047:
4046:
4041:
4040:
4038:
4032:
4024:
4019:
4015:
4010:
4006:
4001:
3997:
3992:
3988:
3983:
3979:
3974:
3970:
3965:
3961:
3956:
3955:
3953:
3949:
3941:
3940:
3935:
3931:
3930:
3925:
3921:
3920:
3915:
3911:
3910:
3905:
3901:
3900:
3895:
3891:
3890:
3885:
3881:
3880:
3875:
3871:
3870:
3865:
3861:
3860:
3855:
3851:
3850:
3845:
3841:
3840:
3835:
3831:
3830:
3825:
3821:
3820:
3815:
3811:
3810:
3805:
3801:
3800:
3795:
3791:
3790:
3785:
3781:
3780:
3775:
3771:
3770:
3765:
3761:
3760:
3755:
3751:
3750:
3745:
3741:
3740:
3735:
3731:
3730:
3725:
3721:
3720:
3715:
3711:
3710:
3709:I due Foscari
3705:
3701:
3700:
3695:
3691:
3690:
3685:
3681:
3680:
3675:
3671:
3670:
3665:
3661:
3660:
3655:
3654:
3652:
3648:
3644:
3639:
3635:
3628:
3623:
3621:
3616:
3614:
3609:
3608:
3605:
3597:
3592:
3588:
3586:
3582:
3580:
3575:
3570:
3566:
3564:
3560:
3558:
3553:
3548:
3544:
3542:
3538:
3536:
3531:
3526:
3522:
3520:
3516:
3514:
3509:
3504:
3500:
3498:
3494:
3492:
3487:
3482:
3478:
3476:
3472:
3470:
3465:
3460:
3456:
3454:
3450:
3447:
3444:
3442:
3438:
3436:
3432:
3429:
3427:
3424:
3422:
3418:
3415:
3412:
3409:
3408:
3400:
3399:0-8443-0088-8
3396:
3392:
3388:
3384:
3383:Werfel, Franz
3381:
3379:
3378:0-19-869164-5
3375:
3371:
3367:
3366:Warrack, John
3364:
3361:
3357:
3356:Toye, Francis
3354:
3352:
3351:0-931340-82-9
3348:
3344:
3340:
3337:
3335:
3331:
3327:
3323:
3321:
3320:0-306-80072-1
3317:
3313:
3309:
3306:
3304:
3303:0-396-08196-7
3300:
3296:
3292:
3290:
3289:0-226-30482-5
3286:
3282:
3278:
3275:
3273:
3272:0-226-14370-8
3269:
3265:
3264:0-226-14369-4
3261:
3257:
3253:
3250:
3249:0-7145-4208-3
3246:
3242:
3238:
3237:
3236:
3235:
3234:Other sources
3228:
3224:
3220:
3216:
3212:
3208:
3204:
3203:The Man Verdi
3200:
3197:
3193:
3189:
3185:
3181:
3178:
3174:
3173:9780486413877
3170:
3166:
3162:
3159:
3155:
3151:
3147:
3143:
3140:
3137:
3136:0-19-313204-4
3133:
3129:
3125:
3122:
3119:
3118:9780399143328
3115:
3111:
3107:
3103:
3102:
3097:
3096:Kobbé, Gustav
3094:
3091:
3090:1-56159-228-5
3087:
3084:
3083:0-333-73432-7
3080:
3076:
3072:
3068:
3067:Parker, Roger
3065:
3062:
3061:0-8108-6110-0
3058:
3054:
3050:
3048:
3047:0-14-029312-4
3044:
3040:
3036:
3032:
3029:
3028:9780304307401
3025:
3021:
3017:
3013:
3009:
3006:
3005:
3004:
3003:
3002:Cited sources
2994:
2989:
2983:
2974:
2965:
2956:
2947:
2938:
2928:
2921:
2919:
2913:
2903:
2894:
2885:
2876:
2867:
2858:
2848:
2841:
2835:
2828:
2823:
2812:
2806:
2798:
2782:
2778:
2776:
2768:
2759:
2757:
2743:
2742:
2735:
2719:
2715:
2714:operanews.com
2711:
2704:
2697:
2696:
2691:
2685:
2678:
2677:
2672:
2666:
2659:
2658:
2653:
2651:
2643:
2636:
2630:
2623:
2617:
2610:
2605:
2598:
2594:
2590:
2586:
2582:
2579:. TDK, 2007.
2578:
2573:
2571:
2569:
2561:
2560:
2553:
2546:
2542:
2538:
2533:
2526:
2522:
2516:
2508:
2504:
2498:
2491:
2486:
2477:
2468:
2461:
2456:
2449:
2445:
2439:
2432:
2431:
2426:
2422:
2417:
2408:
2401:
2397:
2392:
2385:
2380:
2373:
2372:
2366:
2359:
2355:
2351:
2347:
2342:
2335:
2331:
2327:
2321:
2314:
2310:
2306:
2300:
2293:
2291:
2284:
2277:
2276:
2271:
2265:
2263:
2261:
2251:
2244:
2240:
2234:
2225:
2216:
2207:
2198:
2189:
2187:
2177:
2168:
2159:
2157:
2147:
2138:
2131:
2127:
2123:
2119:
2113:
2104:
2095:
2086:
2077:
2068:
2061:
2059:
2052:
2050:
2048:
2038:
2031:
2030:
2023:
2014:
2012:
2002:
1993:
1986:
1982:
1978:
1972:
1968:
1966:
1965:
1954:
1951:
1950:
1943:
1941:
1928:
1927:double basses
1924:
1920:
1916:
1912:
1911:
1907:
1904:
1900:
1896:
1892:
1888:
1885:
1883:
1879:
1875:
1872:
1870:
1866:
1862:
1858:
1854:
1850:
1846:
1845:
1841:
1839:
1835:
1831:
1827:
1823:
1819:
1818:
1814:
1812:
1811:contrabassoon
1808:
1804:
1800:
1796:
1792:
1788:
1784:
1783:
1779:
1778:
1777:
1775:
1771:
1759:
1758:
1757:
1755:
1751:
1748:
1740:
1739:
1738:
1732:
1731:
1730:
1728:
1723:
1722:
1721:
1713:
1712:
1704:
1703:
1702:
1696:
1695:
1694:
1687:
1682:
1678:
1677:
1673:
1668:
1667:
1666:
1660:
1659:
1658:
1654:
1651:
1647:
1643:
1639:
1634:
1633:
1627:
1626:
1620:
1618:
1617:
1609:
1607:
1595:
1579:
1577:
1573:
1555:
1554:
1553:
1547:
1541:
1540:
1537:
1536:
1535:
1533:
1532:
1526:
1525:
1519:
1518:
1508:
1502:
1501:
1500:
1496:
1492:
1485:
1480:
1476:
1475:
1471:
1468:
1464:
1461:
1455:
1454:
1453:
1450:
1446:
1445:
1443:
1434:
1429:
1423:
1422:
1416:
1410:
1409:
1408:
1404:
1403:
1401:
1397:
1389:
1388:
1384:
1379:
1367:
1366:
1356:
1352:
1348:
1345:
1342:
1340:
1336:
1335:
1331:
1328:
1325:
1323:Royal Herald
1322:
1321:
1317:
1314:
1311:
1309:
1305:
1304:
1301:
1299:
1296:
1293:
1292:
1288:
1285:
1282:
1278:
1276:
1272:
1271:
1267:
1265:
1262:
1259:
1256:
1252:
1251:
1248:
1245:
1243:
1240:
1238:
1237:mezzo-soprano
1235:
1233:
1229:
1226:
1225:
1222:
1219:
1217:
1214:
1212:
1209:
1207:
1203:
1199:
1198:
1194:
1192:Joseph David
1191:
1188:
1185:
1181:
1180:
1177:
1174:
1172:
1169:
1167:
1164:
1162:
1158:
1154:
1153:
1150:
1147:
1145:
1142:
1140:
1137:
1135:
1132:(Don Carlo),
1131:
1128:
1127:
1123:
1121:
1118:
1116:
1113:
1111:
1109:
1103:
1099:
1098:
1094:
1093:Franco Faccio
1087:Premiere cast
1084:
1081:
1073:Premiere cast
1072:
1070:
1067:
1064:
1063:
1056:
1048:
1039:
1037:
1033:
1032:Elīna Garanča
1029:
1026:as Rodrigue,
1025:
1021:
1017:
1013:
1009:
1005:
1001:
998:In 2017, the
996:
994:
990:
986:
985:Tamara Wilson
982:
978:
974:
970:
966:
962:
958:
954:
950:
946:
942:
938:
937:Nuccia Focile
934:
930:
926:
922:
918:
913:
911:
907:
902:
901:
896:
892:
887:
885:
881:
877:
873:
870:as Rodrigue,
869:
865:
861:
857:
853:
849:
845:
841:
836:
834:
833:Robert Savoie
830:
826:
822:
821:John Matheson
817:
815:
814:Andrew Porter
811:
807:
801:
796:
795:Michèle Vilma
792:
788:
783:
779:
774:
772:
768:
762:
761:
757:
754:
752:
748:
744:
740:
739:Marilyn Horne
736:
735:Renata Scotto
732:
728:
724:
720:
716:
712:
711:José Carreras
708:
704:
700:
699:Mirella Freni
696:
692:
688:
683:
679:
674:
673:and Giulini.
672:
668:
664:
660:
656:
652:
648:
644:
639:
637:
636:Riccardo Muti
633:
629:
625:
621:
617:
613:
609:
605:
601:
597:
592:
587:
586:
577:
575:
569:
565:
560:
555:
554:
549:
548:
543:
542:
537:
532:
522:
520:
519:Ernest Newman
516:
511:
507:
502:
492:
489:
484:
482:
481:Teatro Apollo
478:
474:
469:
467:
463:
462:Michael Costa
459:
450:
446:
445:
444:
442:
438:
434:
426:
421:
414:
401:
396:
392:
385:
380:
376:
370:
365:
362:
361:
360:
358:
354:
350:
346:
342:
333:
317:
315:
310:
309:Andrew Porter
305:
301:
296:
293:
291:
285:
277:
273:
272:
263:
260:
256:
252:
248:
244:
243:Covent Garden
239:
237:
233:
229:
225:
221:
217:
213:
209:
204:
202:
201:
196:
193:'s 1846 play
192:
191:Eugène Cormon
188:
187:
182:
178:
174:
172:
166:
165:
160:
156:
152:
149:
145:
141:
137:
136:
125:(Paris Opéra)
124:
110:
106:
102:
101:Eugène Cormon
98:
93:
92:
88:
84:
80:
76:
70:
67:
65:
62:
61:
59:
55:
48:
43:
40:
36:
32:
27:
22:
4543:Grand operas
4496:
4475:
4447:
4437:
4427:
4417:
4407:
4397:
4387:
4370:(2011 opera)
4365:
4355:
4345:
4335:
4325:
4315:
4199:Recognitions
4185:
4154:
4144:
4125:
4116:
4108:Il trovatore
4107:
4098:
4089:
4080:
4071:
4062:
4053:
4044:
4023:Va, pensiero
3978:Celeste Aida
3960:Anvil Chorus
3937:
3927:
3917:
3908:
3907:
3897:
3887:
3877:
3867:
3857:
3847:
3837:
3829:Il trovatore
3827:
3817:
3807:
3799:Luisa Miller
3797:
3787:
3777:
3767:
3759:I masnadieri
3757:
3747:
3737:
3727:
3717:
3707:
3697:
3687:
3677:
3667:
3657:
3584:
3562:
3540:
3518:
3512:
3496:
3474:
3452:
3421:Google Books
3390:
3387:Stefan, Paul
3369:
3359:
3342:
3325:
3311:
3294:
3280:
3266:(hardback),
3255:
3240:
3233:
3232:
3202:
3187:
3176:
3164:
3149:
3145:
3127:
3099:
3074:
3070:
3052:
3038:
3019:
3015:
3011:
3001:
3000:
2992:
2982:
2973:
2964:
2955:
2946:
2937:
2927:
2917:
2912:
2902:
2893:
2884:
2875:
2866:
2857:
2847:
2834:
2822:
2815:(in Italian)
2804:
2797:
2785:. Retrieved
2781:the original
2774:
2767:
2745:, retrieved
2740:
2734:
2722:. Retrieved
2718:the original
2713:
2710:"Don Carlos"
2703:
2693:
2684:
2676:Deseret News
2674:
2665:
2655:
2649:
2642:
2629:
2616:
2604:
2576:
2557:
2552:
2536:
2532:
2524:
2515:
2506:
2503:"Don Carlos"
2497:
2485:
2476:
2467:
2455:
2447:
2438:
2428:
2416:
2407:
2391:
2379:
2369:
2365:
2345:
2341:
2320:
2299:
2289:
2283:
2273:
2250:
2233:
2224:
2215:
2206:
2197:
2176:
2167:
2146:
2137:
2112:
2103:
2094:
2085:
2076:
2071:Porter 1982.
2067:
2057:
2037:
2027:
2022:
2001:
1992:
1971:
1963:
1962:
1939:
1908:
1890:
1886:
1873:
1842:
1815:
1799:English horn
1780:
1769:
1767:
1743:
1735:
1724:
1718:The moonlit
1717:
1716:
1699:
1691:
1685:
1675:
1674:
1671:
1663:
1655:
1649:
1635:
1631:
1630:
1614:
1612:
1603:
1576:La peregrina
1575:
1571:
1549:
1548:
1544:
1529:
1527:
1523:
1522:
1497:
1493:
1489:
1473:
1472:
1469:
1465:
1462:
1458:
1451:
1447:
1439:
1438:
1413:
1405:
1393:
1392:
1354:
1338:
1307:
1274:
1231:
1205:
1160:
1156:
1133:
1105:
1091:(Conductor:
997:
993:Samuel Ramey
914:
898:
888:
872:José Van Dam
837:
818:
810:Donald Gramm
775:
763:
759:
758:
755:
751:James Morris
727:James Levine
717:as Rodrigo,
675:
661:as Rodrigo,
640:
628:Jerome Hines
624:Cesare Siepi
618:as Rodrigo,
590:
588:
584:
583:
570:
551:
545:
539:
534:the work of
530:
528:
515:Francis Toye
509:
498:
485:
470:
465:
455:
448:
432:
430:
412:
377:as Elisabeth
337:
331:
325:19th century
297:
294:
289:
286:
282:
270:
269:
240:
205:
199:
198:
194:
184:
169:Don Carlos,
168:
162:
142:composed by
134:
133:
132:
89:
4538:1867 operas
4485:Villa Verdi
4408:La Traviata
4360:(1985 play)
4340:(1953 film)
4330:(1938 film)
4270:Verdi Range
4263:Verdi Inlet
4190:(1889–1897)
4117:La traviata
3852:(June 1855)
3839:La traviata
2988:Adolphe Sax
2132:(libretto).
1942:discography
1899:flugelhorns
1686:Le Hanneron
1281:en travesti
1176:Paul Lhérie
1144:Jean Morère
1077:(Conductor:
961:Southampton
933:Carlo Rizzi
848:Royal Opera
798: [
671:Georg Solti
655:Jon Vickers
612:Delia Rigal
596:Rudolf Bing
562: [
375:Marie Sasse
304:David Rosen
232:Paris Opera
155:Joseph Méry
140:grand opera
64:Joseph Méry
35:Grand opera
4517:Categories
4478:(Finnissy)
4357:After Aida
4277:3975 Verdi
4054:Don Carlos
3912:(1867/84)
3909:Don Carlos
3902:(1862/69)
3779:Il corsaro
3752:(1847/65)
3563:Don Carlos
3541:Don Carlos
3499:(1983, TV)
3475:Don Carlos
3071:Don Carlos
3016:Don Carlos
2918:Don Carlos
2787:5 November
2775:Don Carlos
2747:2024-03-04
2657:Opera News
2650:Don Carlos
2589:1252604603
2577:Don Carlos
2559:Gramophone
2537:Don Carlos
2525:Opera News
2354:1048057459
1959:References
1940:Don Carlos
1933:Recordings
1895:D clarinet
1887:Stage band
1865:tambourine
1863:, cannon,
1844:Percussion
1838:ophicleide
1747:pianissimo
1616:auto-da-fé
1606:media help
1552:Valladolid
1444:) in Spain
1346:Dominique
1161:Don Carlos
1130:Don Carlos
1069:Voice type
953:Birmingham
941:Guang Yang
917:John Caird
900:Gramophone
825:André Turp
741:as Eboli,
709:as Eboli,
659:Tito Gobbi
622:as Eboli,
585:In Italian
531:Don Carlos
466:Io la vidi
449:Don Carlos
433:Don Carlos
332:Don Carlos
186:auto-da-fé
183:scene and
135:Don Carlos
116:1867-03-11
91:Don Carlos
57:Librettist
29:Don Carlos
4099:Rigoletto
3872:(1857/81)
3819:Rigoletto
3809:Stiffelio
3769:Jérusalem
3585:Don Carlo
3519:Don Carlo
3497:Don Carlo
3453:Don Carlo
3446:Aria list
3069:(1998), "
2993:Don Carlo
2932:libretto.
2805:Don Carlo
2597:914649838
2585:244369432
2545:880331555
2290:Don Carlo
2130:777337258
1882:harmonium
1869:castanets
1853:bass drum
1834:trombones
1803:clarinets
1782:Woodwinds
1402:in winter
1279:soprano (
1108:Charles V
1102:Philip II
965:Liverpool
945:Edinburgh
910:DVD video
880:videotape
852:Luc Bondy
760:In French
678:La Fenice
591:Don Carlo
413:Don Carlo
391:Charles V
334:in French
200:Don Carlo
4503:Category
4223:Florence
4215:Brindisi
4063:Falstaff
3939:Falstaff
3389:(1973),
3358:(1931),
3341:(1995),
3310:(1969),
3279:(2006),
3196:15625441
3126:(1994),
3098:(1997).
3020:Falstaff
3010:(1981),
2724:27 March
2562:, p. 95.
2330:52824860
2309:53213864
2122:21815071
1979:and the
1947:See also
1857:triangle
1830:trumpets
1807:bassoons
1754:tremolos
1642:Escorial
1638:insomnia
1363:Synopsis
1329:Mermant
1315:Gaspard
1297:soprano
1166:baritone
1159:Infante
1008:Bastille
923:and the
886:format.
884:HD video
771:La Scala
488:La Scala
220:Habsburg
173:of Spain
151:libretto
108:Premiere
86:Based on
78:Language
4428:Macbeth
4227:Trieste
4219:Busseto
4175:(1874)
4081:Macbeth
3932:(1887)
3922:(1871)
3892:(1859)
3842:(1853)
3832:(1853)
3822:(1851)
3749:Macbeth
3679:Nabucco
3441:Gallica
3219:2737784
3037:(Ed.),
2029:Requiem
1915:violins
1910:Strings
1849:timpani
1826:cornets
1791:piccolo
1596:(15:13)
1343:silent
1211:soprano
1006:at the
969:Toronto
957:Bristol
574:Ricordi
541:Macbeth
393:, act 5
247:Bologna
171:Infante
114: (
4523:Operas
4451:(2005)
4441:(1987)
4431:(1987)
4421:(1986)
4418:Otello
4411:(1983)
4401:(1953)
4391:(1906)
4388:Otello
4320:(1886)
4167:(1873)
4159:(1862)
4149:(1848)
4090:Otello
3942:(1893)
3929:Otello
3882:(1857)
3879:Aroldo
3812:(1850)
3802:(1849)
3792:(1849)
3782:(1848)
3772:(1847)
3762:(1847)
3742:(1846)
3739:Attila
3732:(1845)
3729:Alzira
3722:(1845)
3712:(1844)
3702:(1844)
3699:Ernani
3692:(1843)
3682:(1842)
3672:(1840)
3662:(1839)
3650:Operas
3593:
3587:(2010)
3571:
3565:(1996)
3549:
3543:(1986)
3527:
3521:(1985)
3505:
3483:
3477:(1965)
3461:
3455:(1960)
3397:
3376:
3349:
3332:
3318:
3301:
3287:
3270:
3262:
3247:
3225:
3217:
3211:351014
3209:
3194:
3171:
3158:831152
3156:
3134:
3116:
3088:
3081:
3059:
3045:
3026:
2809:
2595:
2583:
2543:
2352:
2328:
2307:
2128:
2120:
1923:cellos
1919:violas
1787:flutes
1750:chords
1435:, 1565
1400:France
1385:, 1560
1326:tenor
1312:tenor
949:Oxford
501:Naples
300:Verona
259:Modena
251:Naples
224:Valois
3154:JSTOR
2852:504).
1977:opera
1964:Notes
1903:tubas
1874:Other
1861:bells
1822:horns
1817:Brass
1795:oboes
1709:Act 5
1623:Act 4
1515:Act 3
1442:Yuste
1419:Act 2
1373:Act 1
1260:bass
1189:bass
1139:tenor
1065:Role
1042:Roles
979:with
935:with
908:." A
858:with
802:]
606:with
566:]
255:Milan
175:) by
146:to a
4438:Aida
4398:Aida
4045:Aida
3919:Aida
3591:IMDb
3569:IMDb
3547:IMDb
3525:IMDb
3503:IMDb
3481:IMDb
3459:IMDb
3395:ISBN
3385:and
3374:ISBN
3347:ISBN
3330:ISBN
3316:ISBN
3299:ISBN
3285:ISBN
3268:ISBN
3260:ISBN
3245:ISBN
3223:ISBN
3215:OCLC
3207:OCLC
3192:OCLC
3169:ISBN
3132:ISBN
3114:ISBN
3108:and
3086:ISBN
3079:ISBN
3057:ISBN
3043:ISBN
3024:ISBN
2838:See
2789:2010
2726:2018
2593:OCLC
2581:OCLC
2541:OCLC
2490:#108
2358:#128
2350:OCLC
2334:#120
2326:OCLC
2305:OCLC
2126:OCLC
2118:OCLC
1981:play
1878:harp
1832:, 3
1828:, 2
1824:, 2
1820:: 4
1805:, 4
1801:, 2
1793:, 2
1785:: 3
1752:and
1574:(or
1394:The
1115:bass
963:and
705:and
553:Aida
550:and
517:and
452:day.
355:and
347:and
222:and
157:and
3589:at
3567:at
3545:at
3523:at
3501:at
3479:at
3457:at
3419:at
3018:to
2396:#74
2313:#96
2243:BnF
2241:at
1650:His
1204:),
1104:),
411:As
330:As
153:by
95:by
37:by
4519::
4225:-
4221:-
4217:-
3577:,
3555:,
3533:,
3511:,
3489:,
3467:,
2755:^
2712:.
2692:,
2673:,
2654:,
2587:,
2567:^
2523:,
2505:.
2446:,
2427:,
2356:.
2332:.
2311:.
2272:,
2259:^
2185:^
2155:^
2046:^
2032:".
2010:^
1925:,
1921:,
1917:,
1913::
1880:,
1876::
1867:,
1859:,
1855:,
1851:,
1847::
1836:,
1809:,
1797:,
1789:,
1776:.
1398:,
1283:)
1230:,
1186:)
1095:)
1082:)
959:,
955:,
951:,
947:,
889:A
800:fr
680:,
564:it
544:,
203:.
4229:)
4025:"
4021:"
4016:"
4012:"
4007:"
4003:"
3998:"
3994:"
3989:"
3985:"
3980:"
3976:"
3971:"
3967:"
3962:"
3958:"
3626:e
3619:t
3612:v
3251:.
3229:.
3198:.
3179:.
3160:.
3138:.
3120:.
3092:.
3063:.
3030:.
2922:.
2842:.
2817:.
2807:,
2803:"
2791:.
2777:"
2773:"
2728:.
2698:.
2648:"
2599:.
2547:.
2527:.
2509:.
2450:.
2402:.
2288:"
2278:.
2245:.
2062:.
1987:.
1608:.
1368:.
167:(
118:)
103:)
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
