Дон Карлос: Верди операсы

Opera by Giuseppe Verdi
the Verdi opera

Don Carlos is an 1867 five act grand opera composed by Giuseppe Verdi to a French language libretto by Joseph Méry and Camille du Locle, based on the dramatic play Don Karlos, Infant von Spanien (Don Carlos, Infante of Spain) by Friedrich Schiller. In addition, several incidents, of which the Forest of Fontainebleau scene and auto da fé were the most substantial, were borrowed from Eugène Cormon's 1846 play Philippe II, Roi d'Espagne. The opera is most often performed in Italian translation, usually under the title Don Carlo. The opera's story is based on conflicts in the life of Carlos, Prince of Asturias (1545–1568). Though he was betrothed to Elisabeth of Valois, part of the peace treaty ending the Italian War of 1551–59 between the Houses of Habsburg and Valois demanded that she be married instead to his father Philip II of Spain. It was commissioned and produced by the Théâtre Impérial de l'Opéra (Paris Opera) and given its premiere at the Salle Le Peletier on 11 March 1867. The first performance in Italian was given at Covent Garden in London in June 1867. The first performance in Italy was in Bologna in October 1867, also in Italian translation. After some revisions by Verdi, it was performed in Italian in Naples 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 Milan 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 Modena 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 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.

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) cuts were apparently made during the remaining performances. Despite a grandiose production designed by scenic artists Charles Antoine Cambon and Joseph Thierry (Acts I and III), Édouard Desplechin and Jean Baptiste Lavastre (Acts II and V), and Auguste Alfred Rubé and Philippe Chaperon (Act IV), it appears to have been a "problem opera" for the Opéra—it disappeared from its repertoire after 1869.

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 Don Carlos was prepared in the autumn of 1866 by Achille de Lauzières. On 18 November 1866 Verdi wrote to Giovanni Ricordi, offering the Milan publisher the Italian rights, but insisting that the opera:
must be performed in its entirety as it will be performed for the first time at the Paris Opéra. Don Carlos 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 day. However, the Italian translation was first performed not in Italy but in London at the Royal Opera House, Covent Garden on 4 June 1867, where it was produced and conducted by Michael Costa. 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 Io la vidi (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. The Italian premiere on 27 October 1867 at the Teatro Comunale di Bologna, conducted by Verdi's close friend Angelo Mariani, 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 Teatro Apollo, perhaps unsurprisingly, the Papal censor changed the Inquisitor into a Gran Cancelliere (Grand Chancellor) and the Monk/Emperor into a Solitario (Recluse). This version of the opera was first performed in Milan at La Scala 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.

Following the unsuccessful performance in Naples 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 Antonio Ghislanzoni), which replaced some of the previously cut material, and (b) the removal of the allegro marziale 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. Ricordi incorporated the revisions into later prints of the opera without changing the plate numbers. This subsequently confused some authors, e. g. Francis Toye and Ernest Newman, who dated them to 1883.

The idea of reducing the scope and scale of Don Carlos 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 the work of Charles Louis Étienne Nuitter, who had worked on French translations of Macbeth, La forza del destino and Aida 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 translation by de Lauzières, was made by Angelo Zanardini [it]. The La Scala première of the 1883 revised version took place on 10 January 1884 in Italian. 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", which was published by Ricordi as "a new edition in five acts without ballet".

[This synopsis is based on the original five act version composed for Paris and completed in 1866. Important changes for subsequent versions are noted in indented brackets. First lines of arias, etc., are given in French and Italian].