Royal Opera House logo

You can print the cast sheet by clicking the button below.
Please note that casting is subject to change up until the start of the performance. Please continue to check the website for the most up-to-date information.

THE ROYAL OPERA

Music Director

Sir Antonio Pappano

Director of Opera

Oliver Mears

Published by Casa Ricordi by arrangement with G. Ricordi & Co. Ltd., London

Generous philanthropic support from Julia and Hans Rausing, Aud Jebsen, Philipp Freise and The Friends Of Covent Garden

Co-production with The Norwegian National Opera and Ballet and The Metropolitan Opera, New York

Don Carlo

OPERA IN FIVE ACTS (1886 VERSION)

30.06.2023 17:30

The 137th performance by The Royal Opera at the Royal Opera House.

APPROXIMATE TIMINGS

The performance lasts about 4 hours 10 minutes, including two intervals
Acts I and II
95 minutes
Interval
25 minutes
Act III
40 minutes
Interval
20 minutes
Acts IV and V
80 minutes

GUIDANCE

Suitable for ages 8+

This production contains themes of death

CREDITS

Music
Giuseppe Verdi
Libretto
Joseph Méry and Camille du Locle after Friedrich von Schiller
Director
Nicholas Hytner
Revival Director
Daniel Dooner
Designer
Bob Crowley
Lighting Designer
Mark Henderson
Movement
Scarlett Mackmin
Fight Director
Terry King

CAST

Conducted by
Bertrand de Billy
Don Carlos
Brian Jagde
Tebaldo
Ella Taylor
Elizabeth of Valois
Lise Davidsen
Count of Lerma
Michael Gibson
Carlos V
Alexander Köpeczi
Rodrigo, Marquis of Posa
Luca Micheletti
King Philip II
John Relyea
Princess Eboli
Yulia Matochkina
Flemish Deputies
Josef Jeongmeen Ahn, Dan D'Souza, Matthew Durkan, Felix Kemp, Jihoon Kim, Simon Wallfisch
Voice from Heaven
Sarah Dufresne
Grand Inquisitor
Taras Shtonda
The Countess of Aremberg
Rosalind Waters
The Priest Inquisitor
David Fell
Orchestra
Orchestra of the Royal Opera House
Guest Concert Master
Benjamin Marquise Gilmore
Chorus
Royal Opera Chorus
Chorus Director
William Spaulding

Michael Gibson, Josef Jeongmeen Ahn and Sarah Dufresne are Jette Parker Artists

Lords and ladies of the French and Spanish courts, monks, crowd, guards, servants

Actors Harold Addo, Barry Callan, Peter Cooney, Chris Edgerley, David Fell, Richard Gittins, Nathanael James, Simon Jaymes, Sasha Kane, Will Kettle, Andrew Leishman, Tom Levermore, Xavi Monreal, Alex Rajan-Iyer, Douglas Santillo, Suleiman Suleiman, Daniel Swan, Peter Taylor, Charlie Venables, Addis Williams

Extra chorus

Sopranos Jessica Broad, Celeste Gattai, Kathryn Jenkin, Bernadette Lord, Helen Miles, Eleanor Pennell-Briggs, Alison Rayner, Elizabeth Roberts, Juliet Schiemann, Rosalind Waters

Mezzo-sopranos Jeanette Ager, Tamsin Dalley, Siobhain Gibson, Clare McCaldin, Amy Sedgwick, Jennifer Westwood

Tenors Robert Amon, Phillip Bell, Phillip Brown, Edmond Choo, Jonathan English, Darrell Forkin, Andrew Friedhoff, James Geer, Andrew MacKenzie-Wicks, Richard Monk, James Scarlett, Alex Wall

Basses Oliver Gibbs, Gabriel Gottlieb, Gavin Horsley, Byron Jackson, Darron Moore, John Morgan, Martin Nelson, Mark Saberton, Miles Taylor, Christopher Thornton-Holmes, Jochem van Ast, Robert Winslade-Anderson, Peter Wilcock, Jonathan Wood

SYNOPSIS

The opera is set in France and Spain in the second half of the 16th century. A peace treaty between the two countries is to be sealed by the marriage of the Princess Elizabeth of Valois, daughter of Henry II, and Don Carlos, son of Philip II and heir to the Spanish throne.

ACT I: THE FOREST OF FONTAINEBLEAU

Against the wishes of his father King Philip II, Carlos has travelled incognito to France as a member of the Spanish Ambassador’s entourage. He has fallen in love with his intended bride Elizabeth on sight. Elizabeth and her page Tebaldo have been hunting and are lost in the forest; Carlos, unknown to the princess, offers to escort her. She is apprehensive over her marriage, but Carlos reassures her that her future husband will love her. He gives her a portrait of King Philip II’s son, revealing himself. Both of their feelings of love are mutual but their happiness ends with news that the treaty arrangements have been altered: Henry II now intends to marry his daughter to King Philip himself. To ensure peace between France and Spain, Elizabeth consents, but she and Carlos are devastated.

ACT II

PART 1: THE CLOISTER OF THE SAN YUSTE MONASTERY

A distraught Carlos seeks peace at the monastery to which his grandfather, the former Emperor Carlos V, retired before he died. Carlos is confronted by a monk who seems to be the Emperor’s ghost. His friend Rodrigo, Marquis of Posa, arrives to remind him of his commitment to the Flemish people oppressed by Spanish rule. Both men pledge themselves to the cause of liberty and freedom.

PART 2: A GARDEN OUTSIDE THE MONASTERY GATES

While waiting for Elizabeth – now Queen – Princess Eboli suggests to the ladies of the court that a song will pass the time. Elizabeth arrives, followed by Posa with a note from Carlos in which he begs her to trust his friend. Posa persuades Elizabeth to see Carlos again. When Carlos is admitted he asks Elizabeth to convince Philip to allow him to go to Flanders. But Carlos’ vehement expression of his love for Elizabeth horrifies her. Carlos leaves and Elizabeth is left alone in misery.

As the assembled court disperses, Philip detains Posa, curious as to why he has sought no royal favours. Posa’s request is not for himself, but for others: he asks Philip to end his oppression of the Flemish people. Philip refuses but is impressed by Posa’s outspoken courage. He warns Posa that his radical ideals put him in danger from the Inquisition before revealing suspicions about his wife and Carlos, and asking Posa to watch them.

INTERVAL

ACT III

PART 1: THE QUEEN’S GARDENS IN MADRID

Carlos has received a note summoning him to an assignation at midnight. He thinks the meeting is with the Queen, but it is Princess Eboli, who is in love with him. Carlos rejects her love. Realizing where Carlos’ feelings lie, Eboli swears vengeance on him and Elizabeth. Posa arrives in time to overhear Eboli and threatens to kill her. Carlos stops him, and Eboli leaves. Posa persuades Carlos that he is now at risk and should hand over to his friend any secret papers for safekeeping.

PART 2: A LARGE SQUARE AT VALLADOLID CATHEDRAL

At a public burning of heretics, Carlos leads a group of Flemish envoys to Philip, who rejects their pleas for freedom. Carlos’ request to rule Flanders in preparation for his eventual rule over Spain is also firmly dismissed. Carlos draws his sword against his father, but is disarmed by Posa and arrested. In thanks, Philip makes Posa a duke.

INTERVAL

ACT IV

PART 1: THE KING’S STUDY IN MADRID

Philip reflects on the emptiness of his life with a wife who has never loved him. He obtains the support of the Grand Inquisitor for a decision to execute Carlos: as God sacrificed his Son to save mankind, the Grand Inquisitor tells him, so Philip must stifle his love for his son for the sake of the Faith. The Grand Inquisitor considers Posa a heretic who is corrupting the King away from the Church, and demands that Philip hand Posa over to the Inquisition. As the Grand Inquisitor leaves, Philip observes the Throne must always give way to the Altar.

Elizabeth enters, having discovered that her jewel case has been stolen. Philip accuses her of adultery with his son: he has the jewel case (given to him by Eboli), with the painting of Carlos kept inside it. From her reaction, he realizes his wife is innocent. She collapses and Philip summons help; Posa and Eboli arrive, he to observe that Philip can control an empire but not himself, she to feel remorse at what her jealousy has brought about. The King leaves with Posa. Eboli confesses to the Queen that not only did she falsely accuse Elizabeth but she herself has been Philip’s mistress. Ordered from the Court, Eboli vows to free Carlos from prison before she leaves.

PART 2: CARLOS’ PRISON

Posa tells Carlos that he has used the secret papers to take upon himself the blame for the Flemish rebellion. He is now a marked man, so Carlos must take up the cause of liberty for Flanders. Posa is shot by agents of the Inquisition; as he dies he tells Carlos to meet Elizabeth at the San Yuste Monastery, and declares he is happy to have sacrificed his own life for a man who will become Spain’s saviour as its King.

ACT V: THE SAN YUSTE MONASTERY

Elizabeth, wanting only her own death, meets Carlos. He is determined to leave for Flanders. They hope for happiness in the next world, but, as they say farewell, Philip and the Grand Inquisitor arrive. As the agents of the Inquisition move in on Carlos the Emperor Carlos V materializes out of the darkness to insist that suffering is unavoidable and ceases only in heaven.

PRODUCTION CREDITS

Music preparation
Paul Wynne Griffiths, Susanna Stranders, Edward Reeve, Stephen Clarke, Edward Batting
Assistant Directors
Paul Higgins, Harriet Taylor
Assistant Movement
Alicia Frost
Language Coach
Emma Abbate

Edward Reeve and Harriet Taylor are Jette Parker Artists

THE ROYAL OPERA

Patron

The former Prince of Wales

Music Director

Sir Antonio Pappano

Director of Opera

Oliver Mears

Director of Casting

Peter Mario Katona

Administrative Director

Cormac Simms

DIGITAL CAST SHEETS

We are working to make the Royal Opera House more sustainable. To do this, some of the ways in which we share information have changed, including cast sheets.

You can view the digital cast sheets on a computer, tablet or smartphone. You can also download and print the digital cast sheet. Check the digital cast sheet for the most up-to-date information before the performance starts, during the interval, or after the performance day.

Scan the QR codes displayed around the building with a smartphone to view the latest digital cast sheets. The cast sheets are also displayed on screens outside the auditoria.

Cast sheets generously supported by the Royal Opera House Endowment Fund.

GUIDELINES

Photography and filming are prohibited during performances in any of our auditoriums. You are welcome to take pictures throughout the rest of the  building and before performances and share them with us through social media. Commercial photography and filming must be agreed in advance with our press team.

Larger bags and backpacks need to be check into our complimentary cloakrooms. Unattended bags may be removed.

Please do not place any personal belongings on the ledges in front of you.

Only bottled water and ice cream purchased from the premises can be taken into the auditorium.

If you arrive late to the auditorium or leave during a performance, you will not be allowed back to your seat until the interval or a suitable break.

Smoking and vaping are not permitted anywhere on the premises.

The safety of our visitors, staff and artists is still our priority. There are hand sanitiser stations throughout the building. To help us provide a comfortable experience for everyone, please be mindful of others and their personal space.

Our staff are committed to treating everyone with dignity and respect and we ask that you show them and your fellow audience members respect too. We adopt a zero-tolerance approach in response to anyone who interacts with our staff or with fellow audience members in an intimidating, aggressive or threatening manner.

SUPPORT OUR ONGOING RECOVERY

We are so glad to welcome our artists back to our theatres to perform for you the opera and ballet you love. During the pandemic we lost £3 in every £5 of our income and we continue to feel the impact as we recover. Sustaining the future of ballet and opera has never been so important. Please consider making a donation to the Royal Opera House community today and help support the future of ballet and opera.

 

roh.org.uk/donate