SOLOISTS / North/ Richard Farnes CHAN 3162(3)

Giuseppe Verdi: CHANDOS Giuseppe Verdi (1813 – 1901) DON CARLOS Opera in four acts Libretto by Joseph Méry and Camille du Locle, after Schiller English translation by Andrew Porter © Lebrecht Music & Arts Photo Library Photo & Arts Music © Lebrecht Philip II, King of Spain bass Don Carlos, Infante of Spain Julian Gavin Rodrigo, Marquis of Posa William Dazeley The Grand Inquisitor John Tomlinson bass Elisabeth de Valois, Philip’s Queen Janice Watson soprano Giuseppe Verdi Giuseppe Princess of Eboli Jane Dutton mezzo-soprano Thibault, Elisabeth de Valois’ page Julia Sporsén soprano Countess of Aremberg silent Count of Lerma Stephen Briggs tenor An old Monk Clive Bayley bass Voice from Heaven Rebecca Ryan soprano Royal Herald Campbell Russell tenor Flemish Deputies Julian Close bass baritone Stephen Richardson bass Riccardo Simonetti baritone A. Galloway Bell bass Stephen Dowson baritone Chorus of Timothy Burke chorus master Orchestra of Opera North David Greed leader Alexander Ingram assistant conductor Giuseppe Verdi Richard Farnes 3 Time Page Time Page compact disc one 11 ‘Carlos my friend, hope of our future’ 4:27 [p.47] Act I Rodrigo, Eboli, Elisabeth Scene 1: At the tomb of Charles V in the Monastery of San Juste 12 ‘I come before the Queen and I ask for a favour’ 7:57 [p.48] 1 Prelude 2:17 [p.40] 13 ‘Here where I stand let the earth crack asunder’ 1:46 [p.50] 2 ‘Charles the Fifth, our mighty Lord’ 4:01 [p.40] Don Carlos, Elisabeth Chorus of Friars, Old Monk 14 ‘The King!’ 1:17 [p.51] 3 ‘And I have lost her!’ 4:09 [p.40] Thibault, Philip, Chorus Don Carlos, Old Monk 15 ‘Don’t weep, my dear companion’ 4:21 [p.51] 4 ‘There he is! The Prince!’ 2:39 [p.41] Elisabeth, Rodrigo, Philip, Chorus 5 ‘But the King has not yet discovered your secret?’ 1:19 [p.42] 16 ‘Remain here! I’ve seen you at my court’ 2:18 [p.52] Rodrigo, Don Carlos Philip, Rodrigo 6 ‘God who has brought us together’ 4:18 [p.43] 17 ‘O King, I come here from Flanders’ 3:08 [p.52] Don Carlos, Rodrigo, Chorus of Friars, Old Monk 18 ‘What kind of peace is this you give your subjects?’ 6:17 [p.53] Rodrigo, Philip Scene 2: A garden outside the cloister TT 62:06 7 ‘Where the pine grove is green and shady’ 3:17 [p.44] Chorus, Thibault, Eboli 8 ‘In the marble palace of the Moorish King’ 4:27 [p.45] compact disc two Eboli, Thibault, Chorus 9 ‘The Queen!’ 1:52 [p.46] Act II Chorus, Eboli, Elisabeth, Thibault, Rodrigo Scene 1: The Queen’s garden 10 I’m so eager to hear the news you bring’ 1:57 [p.46] 1 Prelude 2:28 [p.54] Eboli, Rodrigo, Elisabeth 2 ‘At midnight in the garden of the Queen…’ 2:12 [p.54] Don Carlos, Eboli

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3 ‘Alas your youthful mind has no idea’ 2:40 [p.55] compact disc three Eboli, Don Carlos, Rodrigo 4 ‘Now he has scorned the love I gave him’ 3:37 [p.56] Act III Scene 1: The King’s study in the Escurial 5 ‘Treacherous son, adult’rous lover’ 3:31 [p.58] 1 Eboli, Rodrigo, Don Carlos [Introduction] 2:58 [p.63] 2 ‘She has no love for me!’ 2:32 [p.63] Scene 2: A square in front of the Valladolid Cathedral, Auto da Fé 3 ‘I’ll only sleep when I am laid to rest’ 4:23 [p.64] 6 ‘Today is a day of gladness and joy’ 6:59 [p.59] Philip Chorus of People, Chorus of Monks 4 ‘The Grand Inquisitor’ 3:22 [p.64] 7 ‘Let the sacred doors now be opened 2:59 [p.60] Count of Lerma, Grand Inquisitor, Philip Royal Herald, Chorus of People, Philip 5 ‘In this land of Spain no heresy has thrived’ 5:24 [p.65] 8 ‘O Heav’n! It’s Carlos!’ 4:55 [p.60] Grand Inquisitor, Philip Elisabeth, Rodrigo, Philip, Don Carlos, Flemish Deputies, Chorus of Monks, 6 ‘Your highness I ask for justice!’ 2:01 [p.66] Thibault Elisabeth, Philip 9 ‘Sire! I have something to ask you!’ 1:56 [p.61] 7 ‘You know full well, my hand was plighted’ 2:36 [p.67] Don Carlos, Philip, Elisabeth, Rodrigo, Thibault, Monks, Chorus of People Elisabeth, Philip, Eboli, Rodrigo 10 ‘O heav’n!’ 2:41 [p.62] 8 ‘Accurst be this hour’ 4:11 [p.68] Elisabeth, Don Carlos, Chorus of People, Philip, Monks, Voice from Heaven, Philip, Eboli, Rodrigo, Elisabeth Flemish Deputies TT 34:08

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9 ‘Forgive! Forgive and pardon a woman who’s wronged you’ 3:25 [p.69] Act IV Eboli, Elisabeth At the tomb of Charles V 10 ‘Oh cruel fate. Oh hated gift’ 4:20 [p.70] 17 [Introduction] 2:43 [p.74] Eboli 18 ‘You, who spurned and renounced all the world’ 2:38 [p.74] 19 ‘France, my noble land, so dear to me in childhood!’ 5:16 [p.74] Scene 2: A prison Elisabeth 11 ‘I’m here my Carlos’ 3:15 [p.70] 20 ‘She’s there!’ 5:34 [p.75] Rodrigo, Don Carlos Don Carlos, Elisabeth 12 ‘My last day has dawned forever’ 2:32 [p.71] 21 ‘We shall meet not in this world’ 3:49 [p.76] Rodrigo Elisabeth, Don Carlos 13 ‘But why do you speak of death?’ 1:39 [p.71] 22 ‘Yes, for ever! A double sacrifice is needed!’ 1:43 [p.77] Don Carlos, Rodrigo Philip, Grand Inquisitor, Elisabeth, Don Carlos, Old Monk, Chorus of Monks 14 ‘O Carlos, now listen, your mother awaits you’ 1:08 [p.72] TT 71:15 15 ‘Now I die, die contented’ 2:23 [p.72] Rodrigo 16 ‘My son I return you your sword’ 2:58 [p.72] Philip, Don Carlos, Chorus, Chorus of People, Count of Lerma, Grandees of Spain, Eboli, Grand Inquisitor

8 9 © Arena Pal © Arena Pal © Arena

William Dazeley as Rodrigo and Julian Gavin as Don Carlos in Janice Watson as Elisabeth de Valois and Jane Dutton as Eboli in Opera North,s 2009 production of Don Carlos Opera North,s 2009 production of Don Carlos 10 11 Verdi’s magnificent opera,Don Carlos, has everything – intense personal passion and pain, enmeshed in the web of political and religious agendas – utterly relevant to today and superbly expressed in a score of gripping intensity. The performances that Opera North gave in May/June 2009, conducted by their Music Director, Richard Farnes, knocked sideways everyone who witnessed them. Tune in to this recording, made in Leeds Town Hall between performances, and you will understand why.

Sir Peter Moores, CBE, DL

November 2009 Sir Peter Moores with a portrait of Admiral Lord Nelson by Lemuel Francis Abbott, acquired for Compton Verney © Lyndon Parker 12 13 in for Philip) prior to leaving France. The actual created around the figures of Don Carlos and Don Carlos marriage ceremony took place in Guadalajara Elisabeth. Indeed it was the motor (or, as Alfred upon Elisabeth’s arrival in Spain. Philip was Hitchcock would say, the ‘MacGuffin’ – the Camille du Locle and Joseph Méry based their and psychological afflictions may well stem from enchanted by his fourteen-year-old bride, and hidden element which makes the plot work) original French language libretto of Verdi’s the inbreeding common both to the Habsburgs even gave up his mistress for her. Despite the which promoted Saint-Réal’s turning of the pair opera on Friedrich Schiller’s 1787 play Don and the royal houses of Portugal and Spain significant age difference, Elisabeth wrote to into star-crossed lovers. Hereditary rulers were Carlos, Infante von Spanien. The story traces the (Carlos’s maternal grandmother and his paternal the French court that she was fortunate to have always careful to see that they, or their children, disturbed life of Carlos, Prince of the Asturias grandfather, and his maternal grandfather and married so charming a prince. Philip enjoyed married with care – in order to produce heirs, (1545 –1568) after Elisabeth de Valois, his his paternal grandmother, were brother and hosting tournaments to entertain his wife where and in order to add either new territory or new betrothed, was married instead to his father sister, and his two great-grandmothers were she would play the role of ‘liege lady’, awarding wealth to the country of their birth. Betrothals Philip II, King of Spain. Du Locle and Méry sisters). tokens of favour to the three young princes of were arranged when the children were still also drew from Schiller’s main source, the Abbé The real Elisabeth de Valois (1544 –1568), the Spanish court – Carlos, Juan (Don John of minors and the meeting (and consummation de Saint-Réal’s 1672 ‘historical novel’, the first of the daughter of King Henry II of France and Austria, an illegitimate son of Philip’s father, of the marital relationship) of the couple only a number of treatments to present Elisabeth and Catherine de Medici, was born at the chateau Charles V), and Alessandro Farnese (the son took place when they were older – although the Carlos as doomed romantic lovers. Although of Fontainebleau. Her father insisted she share of Charles V’s illegitimate daughter). Philip’s bride, as in the case of Elisabeth de Valois, could most of the opera’s public events – and the her bedroom in the French royal nursery with fondness for Elisabeth was such that he could still be less than sixteen. There is thus something more private one of Philip’s arrest of his own her future sister-in-law, Mary Queen of Scots – not be separated from her even when she had rather fresh and beautiful – as well as almost son – have some basis in fact, Verdi felt that he the two would remain close friends. Elisabeth smallpox. She bore him two daughters. Her illegal – about the early meeting of Carlos and could write to his publisher Ricordi that ‘there was described as being shy and in awe of her relationship with Carlos was warm and friendly his then intended Elisabeth at Fontainebleau, is nothing historical in this drama…’, following formidable mother. In 1559 she was betrothed and, despite his behavioural peculiarities, he which was invented for the first act of the opera this claim with a lengthy list of discrepancies to Carlos, one of the terms of the peace treaty was always kind and gentle to her. Carlos never by Verdi and his French team. between historical fact and his own and of Cateau-Cambrésis which ended the so-called married, despite an impressive list of brides As Carlos grew up at the court of Philip and Schiller’s works. ‘Italian’ War of 1551 –59 between the Houses suggested for him. They included Mary Queen Elisabeth in the 1560s, his mental disorder The historical Carlos was born at Valladolid. of Habsburg and Valois. However, a short while of Scots, Marguerite de Valois (another daughter became more acute – although he was still His mother, Maria of Portugal, Philip’s first later, the engagement was renegotiated in favour of French king Henry II) and Anne of Austria, a officially recognized as the heir to Castile wife, died a month after his birth. As a boy, of Philip himself, whose second wife, Mary distant relative of Philip’s who later became his and Aragon, two-thirds of his father’s Iberian he was delicate and deformed, later becoming Tudor of England, had recently died. Philip and fourth, and last, wife. kingdom. In 1562, however, he met with an proud, willful, and insolent. He soon began to Elisabeth were originally married by proxy at The issue of arranged marriages, or dynastic unexplained accident – perhaps a drunken show signs of mental instability. These physical Notre Dame (with the Duke of Alba standing betrothals, is quite central to the dramas or disturbed fall down the stairs – which was

14 15 followed by a serious illness. The accident had most probably as a result of hunger strikes kings’ as they were now called, launched and with the cuts made before the premiere caused a head injury. He was trepanned (ie, had and poor medicine. Despite much criticism – a Spanish Inquisition under Tomás de reopened, a performance of Don Carlos would a part of his skull removed) by a team of famous including a direct accusation of murder from Torquemada in 1483 to promote their new contain about four hours of music, in addition doctors. After convalescing, his behaviour Dutch leader William of Orange – Philip would crusade. to being Verdi’s longest opera and the only one was reported to be wild and unpredictable, only state in public that his son’s arrest had been The Inquisitor General’s powerful position that exists in so many alternative performing marked by rages and excessive drinking. It necessary ‘for the service of Our Lord and for within the new Catholic state could, and did, versions. In 1866, after finishing the opera (but was also at this time that he became engaged the public welfare’. Privately he was traumatised bring him into conflict with the sovereign before composing the ballet), Verdi cut, for with the politics of the Netherlands’ struggle by Carlos's death. Later the same year, in himself. Charles I, the eventual successor to reasons of running time, a duet for Elisabeth against Spanish rule. He spoke out against October, Elisabeth had a miscarriage and died Ferdinand and Isabella in Spain (he was their and Eboli in Act IV, Scene 1, and in Act IV, the Duke of Alba (who became the de facto the same day, along with her newborn infant grandson and is better known to history, as Scene 2 both a duet for Carlos and the King governor of the Low Countries, a position once son. Catherine de’ Medici offered her younger in this opera, as Charles V, his title as Holy after the death of Posa, and an exchange between promised to Carlos) and he made contact with daughter Marguerite as a bride for Philip. Philip Roman Emperor) advised his son and successor Elisabeth and Eboli during the Insurrection. representatives of the Duke of Egmont, leader declined the offer. Philip II ‘always to keep God before your eyes’. However, with the ballet now included, it of the revolt. A leading conflict in the Schiller/Verdi story A great deal of both Philip’s home and foreign became clear during rehearsals that the opera Carlos’s identification with the aggrieved of Don Carlos is that between the sovereign policy was devoted to religious warfare. would not finish before midnight (the time of Dutch may have turned him even more against of Spain and the Spanish Inquisition. After His strong Inquisitor Generals (Hernando de the last trains to the Paris suburbs). So Verdi his father. He was said to have spoken of 500 years of Moorish occupation, the Iberian Valdes and, at the time of the arrest of Carlos, also cut the introduction to Act I (chorus murdering Philip and at the beginning of 1568 peninsula in the fifteenth century was divided Cardinal Espinosa) produced a strict index of woodcutters and their wives and the first was ready to flee Spain and his father’s control. into three kingdoms – Portugal, Castile and of books not allowed to be read and did not appearance of Elisabeth), Posa’s entry solo However, at 11 o’clock at night on 28 January Aragon. In 1469 Isabella of Castile cemented hesitate to bring their ‘justice’ to archbishops, (‘J’étais en Flandres’) in Act II, Scene 1, and his bedchamber was invaded by Philip and some her position on the throne by choosing to marry cardinals and even the aristocracy and royal some of the dialogue between him and the King members of the royal council. The dagger and (with Papal dispensation) her young cousin family. in Act II, Scene 2. Before leaving Paris after the arquebus which he kept at the head of his bed Ferdinand of Aragon. After a decade of war Verdi’s Don Carlos received its first première he also told the Opéra that they could were confiscated. Philip informed his son that the pair held power over a new, more united performance at Paris’s Théâtre Imperial de end Act IV, Scene 2 with the death of Posa and he was going to treat him no longer as a father Spain and issued edicts to their Moorish and l’Opéra in March 1867. Over the next twenty cut the Insurrection scene. Further cuts not but as a king, and Carlos was placed under arrest Jewish subjects – convert to Christianity or years a myriad of cuts and additions were made – authorised by the composer appear to have been in solitary confinement in his room. Elisabeth is leave the country. Borrowing an idea from willingly and unwillingly, both by the composer made for the remaining performances. said to have cried for days. The Infante Carlos, Pope Gregory IX’s thirteenth-century Holy himself and by other hands – to this original Achille de Lauzières had already begun heir to the thrones of Spain, died on 24 July, Office, Ferdinand and Isabella, ‘the Catholic five-act version. Including the Act III ballet, a translation of Don Carlos into Italian in

16 17 the autumn of 1866. With some cuts and It remains the only version of the work of Elisabeth. A monk offers him words of withdraws, Philip interrogates Rodrigo, who alterations, this was presented first at the Royal which he himself supervised completely in comfort. Carlos is terrified because he is shocks him by launching into a tirade against House, Covent Garden in June person, and forms the basis for Opera North’s convinced that this is the ghost of his dead Spanish policy in Flanders. 18 Philip reveals 1867 and served – uncut – for the opera’s Italian recent performances and this recording. But in grandfather, the Emperor, Charles V. his doubts about his wife’s fidelity and gives premiere in Bologna in October of that year. Modena in 1886 Verdi allowed a performance 4 – 5 Rodrigo has just returned from Rodrigo the task of observing her with Carlos. Next, in Naples in 1871/72, Verdi made to present the Fontainebleau first act before his Flanders, where the people suffer under the Rodrigo realizes the political advantage of two additions to the scene for Posa and the revised four-act version. This was published by repressive rule of Spain. He urges Carlos having the trust of the King. King in Act II, Scene 2 (verses by Antonio Ricordi as ‘a new edition in five acts without to fight for their freedom. 6 The King and Ghislanzoni) to replace some of the material ballet’. This confusing, but always intriguing, Queen pass by on their way to Mass. Carlos compact disc two cut in Paris – the only part of this opera ever situation was further enriched by the discovery knows that Elisabeth can never be his and he composed to an Italian rather than a French in Paris in 1970 (by Andrew Porter and Ursula decides to devote himself to the Flemish cause. Act II text – and shortened the duet between Carlos Günther) of the pages of the original score Scene one and Elisabeth in Act V. thought irretrievably lost. Scene two The Queen’s garden By the mid-1870s Verdi had naturally A garden outside the cloister 1 Prelude. 2 – 3 Carlos has received an © 2009 Mike Ashman become aware of productions of Don Carlo 7 The ladies of the court wait for Elisabeth anonymous note, proposing a rendezvous, which had removed Act I and the ballet and to return. 8 The Princess of Eboli entertains which he presumes is from Elisabeth. His introduced cuts to other parts of the opera. Synopsis them with a song. 9 – 11 Rodrigo delivers a raptures of love are silenced when the In 1882/83 in Paris he worked with original Philip, King of Spain, has recently married secret note from Carlos to the Queen. 12 The ‘Queen’ lifts her veil to reveal Eboli. In love librettist du Locle and Charles Louis Etienne Elisabeth de Valois of France. Carlos, his son, was court withdraws, allowing her to see Carlos with Carlos, Eboli had written the note. du Nuittier (who had worked on French originally betrothed to her; they loved each other, in private. Carlos asks Elisabeth to intercede She warns him of Rodrigo’s new friendship translations of his , but now she is his stepmother. with the King to send him to Flanders. He with the King, but is furious when she and ) on revisions of the French text and grows angry at her apparent coolness. 13 His guesses that Carlos is in fact in love with the the music to create a four-act version. Act I and compact disc one recriminations quickly turn to love. Elisabeth Queen. 4 Rodrigo, having overheard this, the ballet were omitted. An Italian translation only extricates herself from potential disaster fears that Eboli might betray Carlos and by Angelo Zanardini of this new, shorter Don Act I by brutally confronting Carlos with the ruin his plans. 5 Despite Rodrigo’s threats, Carlo was premiered at , Milan in Scene one reality that she is now his mother. He leaves, Eboli leaves, intent on vengeance. Rodrigo January 1884. Verdi, undoubtedly aware that At the tomb of Charles V in the Monastery of distraught. 14 – 15 The King finds her alone persuades a confused Carlos to hand over any the age of Grand Opera was at an end, called it San Juste and unattended, and furious, banishes her incriminating documents for rebellion in ‘more concise, more sinewy’. 1 Prelude. 2 – 3 Carlos laments the loss French lady-in-waiting. 16 – 17 When the court Flanders that he may be carrying.

18 19 Scene two 6 Elisabeth bursts in. She is furious; that Rodrigo deliberately died to save Don He regularly appears at the Metropolitan The Auto da Fé (Act of Faith) someone has stolen her jewel casket. Philip has Carlos. The people, roused to rebellion by Eboli, Opera, La Scala, Milan, La Bastille, Wiener 6 – 7 The people gather for a public burning it, breaks it open and confronts her with the come to free Carlos, who escapes before the and Bayerische Staatsoper, San Francisco, by the Inquisition of condemned heretics. portrait of Carlos he has found inside. 7 – 8 Grand Inquisitor crushes the revolt. Netherlands Opera, and in Madrid, Seville, 8 The ceremonial procession of the King When he accuses her of infidelity she faints. Palermo, Pesaro, as well as (in the UK) the and Queen is interrupted by Carlos, leading a 9 Eboli, alone with the Queen, confesses Act IV , , delegation from Flanders. When Philip rejects to the theft of the casket. Elisabeth forgives At the tomb of Charles V Welsh National Opera and Opera North. He their plea for clemency towards the Flemish her, knowing she acted out of jealousy. But 17 [Introduction] 18 – 21 Elisabeth and Carlos has a stylistically wide repertoire, equally at people, 9 Carlos demands to be sent to rule in when Eboli goes on to confess that she has reconcile themselves to parting, but before home with as he is with the full- Flanders. committed adultery with the King, the Carlos can leave for Flanders, 22 the King blooded romanticism of Verdi, and with the Philip reacts with scorn and Carlos draws Queen exiles her from the court. 10 Eboli, arrives. He hands them both over to the flexibility of voice to encompass both. his sword against his father. 10 To Carlos’s knowing that she must live out her days in a Inquisition. As Carlos resists arrest, the ghost of A highly sought-after concert artist, amazement, Rodrigo steps in and relieves him convent, realizes that she may still be able to Emperor Charles V appears, and carries Carlos Alastair has appeared with the world’s most of his sword. Carlos is led away to prison as the save Carlos. off into his own tomb. prestigious orchestras and conductors. His burning begins. discography currently stands at over ninety Scene two recordings, including, as part of Chandos’s compact disc three A prison Alastair Miles (Philip II) Opera in English series, a disc of Great 11 – 12 Rodrigo comes to visit Carlos in prison. was born in Harrow, Operatic Arias, Mephistopheles (Faust), Act III He has pretended that the documents for Middlesex, and studied and Ramfis (Aida). He also enjoys a close © Sheila Rock© Sheila Scene one revolt which Carlos gave him are his own and at the Guildhall School relationship with Opera Rara for whom The King’s study in the Escurial has allowed them to fall into the hands of of Music and Drama. he has recorded Mayr’s Medea in Corinto, 1 Introduction. 2 – 3 Philip is now the authorities. He hopes by this self-sacrifice He pursued a career as Mercadante’s Orazi e Curiazi, Donizetti’s convinced that Elisabeth has betrayed him to save Carlos. 13 An unseen assassin shoots a flautist and teacher Rosmonda d’Inghilterra, Meyerbeer’s with Carlos. 4 – 5 He has summoned the Rodrigo. 14 – 15 As he dies he tells Carlos to before turning to Margherita d’Anjou and Thomas’La Cour de Grand Inquisitor, who says the Church will meet Elisabeth early the next morning at the singing. He won the Célimène – and shares their aim of bringing sanction the murder of Carlos. But, in return, tomb of Charles V in San Justo. She will help 1986 Decca Kathleen the delights of neglected nineteenth-century the Church demands the death of the King’s him to escape to Flanders. 16 Philip arrives. Ferrier Award and was soon in demand by Italian and to a wider public. new advisor, Rodrigo. Philip refuses and the Now that he knows Rodrigo is a traitor, he is opera companies, orchestras and recording Alastair Miles lives in Cambridge with his wife matter is left unresolved. ready to forgive Carlos. He is moved to hear companies alike. and three children.

20 21 Australian-born tenor Opera North and ; Des Grieux Beethoven’s Ninth Symphony and Bizet’s opera in concert at the Barbican; the Count at the Julian Gavin (Don (Manon Lescaut) with the Israel Philharmonic Ivan IV. Pittsburgh Opera; Zurga (The Pearl Fishers) Carlos) graduated Orchestra; Hoffman The( Tales of Hoffmann) at the San Francisco Opera; the Ferryman from the University in Washington; Cavaradossi () for Opera William Dazeley (Curlew River) at the Edinburgh Festival; of and Colorado and English National Opera); Don (Rodrigo) was born Papageno (The Magic Flute) for English undertook postgraduate José () for Opera Australia, English in Warwickshire and National Opera; the Count for Welsh studies in conducting at National Opera, Vienna State Opera, the is a graduate of Jesus National Opera; and Maximilian (Candide) the Victorian College in Madrid, with the Kansas College, Cambridge. at the San Carlo Opera in Naples. William of the Arts before Symphony Orchestra, and in He studied singing at Dazeley has sung in the world premieres of coming to London and Zürich; Roméo (Roméo et Juliette) for the Guildhall School Harrison Birtwistle’s The Last Supper(Jesus) where he studied at the . Opera Australia; the title role in Don Carlo of Music and Drama, at the Deutsche Staatsoper Berlin and the His UK debut as Alvaro (La forza del destino) at Minnesota Opera; Cavaradossi at English and in 1989 won the Glyndebourne Festival; and Hosokawa’s Hanjo, for English National Opera led to a series of National Opera and Opera Colorado; Des Decca –Kathleen which was presented at the Aix en Provence engagements with the company including Grieux (Manon) for Opera North and Opera Ferrier Prize. Festival and Théâtre de la Monnaie in Brussels. roles such as Alfredo (), the Duke Australia; Jenik () Established as one of the leading Concert appearances have included (), Rodolfo (La Bohème), Cavaradossi for Glyndebourne Festival Opera; Gustavo of his generation, operatic roles include Count appearances with the City of Birmingham (Tosca), and the title roles in The Tales of () in Boston, and Florestan (Massenet’s Cherubin), Guglielmo (Così fan Symphony Orchestra, the Monteverdi Hoffmann, and . (Fidelio) for Opera Australia. tutte), Anthony (Sweeney Todd), Mercutio Orchestra, Royal Flanders Philharmonic, Other operatic appearances include Laca In concert, Julian Gavin has performed a (Roméo et Juliette), Figaro (Il barbiere di BBC Symphony Orchestra, Berlin (Jenůfa), Carlo VII (Giovanna d’Arco) for wide-ranging repertoire with major orchestras Siviglia), Marcello (La Bohème) and Yeletsky Philharmonic, San Francisco Symphony, Opera North and in Frankfurt; the title role throughout the world including appearances (Pique Dame) at the Royal Opera House, Orquestra Nacional do Porto, and Mozarteum in Don Carlos for The Royal Opera; Pollione with the , Sydney Covent Garden; Count (Le nozze di Figaro), Orchester Salzburg. He has performed in (Norma) in Lucerne and Michigan; Alfredo Symphony Orchestra, National Symphony Figaro and the title role in Owen Wingrave for recital at the Wigmore Hall, Purcell Room, at Den Norske Oper, Opera Australia, and Orchestra, London Philharmonic, BBC Glyndebourne Touring Opera; Figaro at the St George’s Bristol, and at the Châtelet, and is Washington National Opera; Rodolfo in National Orchestra of Wales, Halle Orchestra, Deutsche Staatsoper, Berlin; Count and the regularly invited to sing at Cheltenham, Aix Trieste, Stuttgart, and for De Vlaamse Opera BBC Symphony and many others. For title role in Don Giovanni at the Deutsche Oper en Provence and Saintes Festivals with such and Opera North; Rodolfo (Luisa Miller) in Chandos’ Opera in English series he has Berlin; Dr Faust at the Salzburg Festival and noted accompanists as Graham Johnson and Essen and Bordeaux; Pinkerton (Madama recorded Don José (Carmen) and the title the Théâtre du Châtelet; Scherasmin Oberon( ) Iain Burnside. William Dazeley’s recordings for Butterfly) at the Deutsche Oper Berlin, for role in Ernani. Other recordings include at the Théâtre du Châtelet, also presented Chandos’ Opera in English series include the

22 23 Count (), Schaunard Paris, Amsterdam, Berlin, Dresden, Hamburg, Flanders Opera; In concert she has appeared with the Boston (La Bohème) and Silvio (Pagliacci). Munich and Vienna, and the Festivals of Strauss’ Daphne, Symphony Orchestra, San Francisco Symphony, Orange, Aix-en-Provence, Salzburg, Edinburgh Arabella, Salome London Symphony Orchestra, the Orchestre John Tomlinson and the Maggio Musicale, . Douet © Mark and Mozart’s Elettra de Paris, the Academy of St Martin-in-the- (Grand Inquisitor) was His repertoire further includes Hans Sachs (Idomeneo) at the Santa Fields, the London Philharmonic Orchestra,

© Workman born in Lancashire. (Die Meistersinger von Nürnberg), Landgraf Fe Festival; Daphne, the Chicago Symphony Orchestra and Royal He gained a B.Sc. in (Tannhäuser), Baron Ochs (Der Rosenkavalier), Arabella and Eva (Die Concertgebouw. Civil Engineering at Boromeo (Palestrina), Orestes (Elektra), Moses Meistersinger von Janice Watson’s many recordings include Manchester University (Moses und Aron), Green Knight in the world Nürnberg) with the Helena (A Midsummer Night’s Dream), before winning a premiere of Harrison Birtwistle’s Gawain San Francisco Opera; Carmina Burana, and for Chandos Poulenc’s scholarship to the and the Green Knight, Claggart (Billy Budd), Pamina, Countess Almaviva and Arabella at the Gloria, Howells’s Missa Sabrinensis, Ellen Royal Manchester Rocco (Fidelio), King Philip (Don Carlos), Bavarian State Opera; and Ellen Orford (Peter Orford (), and for the Opera in College of Music. He Sarastro (The Magic Flute), Leporello and Grimes) at the Vienna State Opera, Netherlands English series the title role in Jenůfa under was awarded a C.B.E. in 1997 and was knighted Commendatore (Don Giovanni), Golaud and Opera, the Royal Opera House, Covent Sir Charles Mackerras. in the Queen’s Birthday Honours of 2005. Arkel (Pelléas et Mélisande), the title role and Garden. She has performed at the San Carlo John Tomlinson has sung regularly with Pimen (Boris Godunov) and the title role in the Opera, Naples, the Aldeburgh Festival, the American mezzo- English National Opera since 1974 and with premiere of Birtwistle’s The Minotaur. Deutsche Staatsoper, Berlin, the Lyric Opera of soprano Jane Dutton The Royal Opera, Covent Garden, since Recordings as part of Chandos’ Opera in Chicago and the Metropolitan Opera, and has (Princess of Eboli) was 1977 and has also appeared with all the other English series include the title roles in Boris been a regular guest with both English National a finalist in Placido leading British opera companies. He sang at Godunov (highlights), The Flying Dutchman, Opera (most recently as the Marschallin and Domingo’s Operalia the Bayreuth Festival for eighteen consecutive and Bluebeard’s Castle, as well as two discs of Madam Butterfly) and Welsh National Opera 1997 World Opera seasons as Wotan (Das Rheingold and Die Great Operatic Arias. (most recently as Alice Ford). Other roles Competition in Tokyo, Walküre), Wanderer (Siegfried), Hagen include Jenifer (The Midsummer Marriage), and won the Opera (Götterdämmerung), Titurel and Gurnemanz Janice Watson (Elisabeth) studied at the Elisabeth (Tannhäuser) in her debut with Opera at Florham Guild (Parsifal), King Mark (Tristan und Isolde), Guildhall School of Music and Drama and first Australia, and the title role in Katya Kabanova competition. In North Heinrich (Lohengrin) and the title role in came to prominence as winner of the Kathleen for the Royal Opera and for her debut at La America she has sung the roles of Jordan Baker Der fliegende Holländer. Other engagements Ferrier memorial award. Scala, Milan. She has sung A Streetcar Named (John Harbison’s The Great Gatsby), and roles include appearances in Geneva, Lisbon, New Her many operatic roles have included Desire under Andre Previn with the London in Roméo et Juliette, Carlisle Floyd’s Susannah, York, Chicago, San Francisco, San Diego, Pamina with the Paris Opéra; Vitellia for Symphony Orchestra, and in Oslo and Vienna. Lulu, Madama Butterfly, and Rigoletto, all for

24 25 the Metropolitan Opera; Composer (Ariadne Julia Sporsén Bruhlmann (Werther), First Priest (The Magic Carbon (Alfano’s Cyrano de Bergerac), Thoas auf Naxos) and Sonyetka in (Lady Macbeth of (Thibault) was born in Flute), Trin (The Girl of the Golden West), (Iphigénie en Tauride), Sylvano (La Calisto) Mtsensk) for San Francisco Opera; Sara (Roberto Gothenburg, . (Norma), Messenger (Aida), St Brioch and Hunding (Die Walküre). He has had Devereux) for New York City Opera; Santuzza After private studies (The Merry Widow), Normanno (Lucia di notable successes with Opera North, where (Cavalleria rusticana) with Virginia Opera; with Susanna Rigacci Lammermoor), Officer (Jerusalem), Antonio roles have included Sparafucile (Rigoletto), Gertrude (Hamlet) with Lyric Opera of Kansas in Florence, she studied (The Thieving Magpie), Ruiz (Il trovatore), Ebn Hakia (Yolanta), Raleigh (Gloriana), the City; Meg Page () and Amneris (Aida) at the Royal Academy Marcellus (Hamlet), Brother of the Deadly Referee (Benedict Mason’s Playing Away), with Indianapolis Opera; and Amneris with the of Music in London Sins (The Duenna), Prince Yamadori (Madama Ferrando (Il trovatore), Arkel (Pelléas et Lyric Opera of Kansas City and at Pittsburgh with Joy Mammen and Butterfly), Second Apprentice (Wozzeck), Mélisande), Wurm (Luisa Miller), the title role Opera. Iain Ledingham, and Dr Caius (Falstaff ), Beadle (Sweeney Todd), in Le nozze di Figaro, the Doctor (Wozzeck), Jane Dutton made her European opera graduated from the Royal Academy and won Mercury (Orpheus in the Underworld), Antinous (Il ritorno d’Ulisse in patria), and debut at the Gran Teatre del Liceu in Barcelona their Opera Rara Patric Schmidt Bel Canto Inspector (One Touch of Venus), Spoletta Osmin (Die Entführung aus dem Serail). as Anne Boleyn in Saint-Saëns’ Henry VIII Prize 2007 and the Flora Nielsen Song Prize (Tosca), Reverend Adams (Peter Grimes) and He has performed with Opera Factory, and has returned there each season for roles 2005, and is a Samling Scholar. Basilio (The Marriage of Figaro). Grange Park Opera, Welsh National including Adalgisa (Norma), Pauline (Pique Roles at the Royal Academy of Music Opera, Glyndebourne Festival Opera and Dame), Gertrude (Hamlet), Maddalena include Arminda (La finta giardiniera), Clive Bayley (Old Glyndebourne Touring Opera. Abroad (Rigoletto) and Suzuki (Madama Butterfly) and Armida (Rinaldo), Iphise (Rameau’s Dardanus) Monk) studied at Clive Bayley has sung at the opera houses in most recently she sang Waltraute (Die Walkure) with Laurence Cummings, and the title role in the Royal Northern Geneva, Amsterdam, Seattle, San Francisco, alongside Placido Domingo and Waltraud Tchaikovsky’s Iolanta with Steuart Bedford. Rock© Sheila College of Music Lisbon, Lausanne, Toulouse, Munich and Meier. Jane Dutton made her UK operatic Other appearances include Violetta (La where he was a Peter Copenhagen, and has sung in concert with Les debut singing Amneris at English National traviata) and Micaëla (Carmen) for Clonter Moores Scholar. He Arts Florissants and William Christie on tour, Opera and returned to sing Santuzza. Opera, Donna Elvira (Don Giovanni) for made his debut with and in Munich with the Bayerische Staatsoper. She has appeared in concert with the Amersham Music Festival and Donna Anna The Royal Opera, With the Opera National du Rhin, Strasbourg, New York Philharmonic, Seattle Symphony, (Don Giovanni) for . Covent Garden, in the he has sung Fasolt (Das Rheingold) and Colorado Symphony, Indianapolis Symphony, premiere of Harrison Hunding, and with Frankfurt Opera Claggart and at the Prague Autumn Festival. She Stephen Briggs (Count of Lerma) trained at Birtwistle’s Gawain and has since appeared (Billy Budd). made her UK concert debut singing Wagner’s the Royal Northern College of Music. Since there in many roles, including Colline (La His recordings for Chandos’ Opera in English Wesendonk Lieder with the BBC Scottish 1980, Opera North roles have included: Bohème), Hans Foltz (Die Meistersinger von series include the Bonze (Madam Butterfly), Symphony Orchestra. Woodpecker (), Nürnberg), Castro (), Ferrando (Il trovatore), Commendatore

26 27 (Don Giovanni), Pistol (Falstaff ) and Timur Rebecca Ryan also sings regularly in concert of Music. He has appeared with English Morales (Carmen), and Demetrius (). with orchestras including the City of London National Opera, Scottish Opera, Welsh (A Midsummer Night’s Dream). He has also Sinfonia, the Irish Baroque Orchestra, the National Opera, Mid-Wales Opera, Lyric performed at the Teatro Real in Madrid, for Rebecca Ryan (Voice Royal Philharmonic Orchestra and the RTÉ Opera Dublin, Stanley Hall Opera, English Opera North, Glyndebourne on Tour, Opera from Heaven) first Orchestras. Pocket Opera, The Opera Project, and the Holland Park, the State Opera of South came to international Wexford, Buxton, Northampton, Longborough Australia and Opéra Baugé. prominence when Campbell Russell (Royal Herald) studied at and Iford Festivals in a wide range of roles Other roles include Count (Le nozze she gave the first Royal Scottish Academy of Music and Drama. including: Fafner and Wotan (Das Rheingold), di Figaro), the title role in Don Giovanni, UK performance Roles there included Tamino (Die Zäuberflote), Hunding (Die Walküre), Fafner (Siegfried), Marcello, Frederick (Lakmé) and Albert of Handel’s newly Nero (The Coronation of Poppea) and Chevalier Hagen (Götterdämmerung), Titurel (Parsifal), (Werther). Concert performances include the rediscovered Gloria. de la Force (The Dialogues of the Carmelites). Commendatore (Don Giovanni), Pistol Philharmonia, Royal Philharmonic Orchestra, She has sung in concert For Scottish Opera he has performed Malcolm (Falstaff), Sarastro (Die Zauberflöte), Dr. Bournemouth Symphony, Ulster Orchestra, at major venues in (Macbeth), Shepherd (Tristan und Isolde), Third Bartolo (Le nozze di Figaro), Mephistopheles Bach Choir and Huddersfield Choral Europe and her native New Zealand, and was Esquire (Parsifal), First Priest (The Magic Flute), (Faust), Sparafucile (Rigoletto), and Ramfis Society. He recorded Forester (The Cunning an Associate Artist of the Classical Opera Animal Seller (Der Rosenkavalier), Prince (Aida). Little Vixen, for BBC TV), created Carlo Company. She studies with Dame Anne Evans. Yamadori (Madama Butterfly), Don Curzio Concert repertoire includes Bach’s in Judith Weir’s Armida for Channel 4, and Her engagements have included Micaëla (The Marriage of Figaro). For Scottish Opera St Matthew and St John Passions and Magnificat, portrayed the lead role in The Eternity Man, (Carmen) for University of Otago Opera, Go Round roles have included Ferrando (Così Elgar’s Dream of Gerontius, Mozart Requiem (ABC/Channel 4). Dorotea (Don Chisciotte in Sierra Morena) at fan tutte), and Count Almaviva (The Barber and C Minor Mass, Verdi Requiem and Rossini’s the Musikwerkstatt Wien, Angelica (Orlando) of Seville). In concert he has performed at the Stabat Mater. Stephen Richardson (Flemish Deputy) studied for Independent Opera at Sadler’s Wells at Edinburgh International Festival. For Opera at the Royal Northern College of Music. Wigmore Hall, Fauno (Ascanio in Alba) North he has performed various roles including Grant Doyle (Flemish Deputy) studied at the A specialist in contemporary repertoire he has and Cherubino (Le nozze di Figaro) for the Crow Doctor/Sinister Man (The Adventures of Elder Conservatorium, Adelaide and at the premiered works including Thomas Adès – Classical Opera Company, Mme Silberklang Pinocchio). Royal College of Music. He was a member of the The Tempest (Royal Opera House‚ Covent (Der Schauspieldirektor) with the Auckland Young Artists Programme at the Royal Opera Garden), Tan Dun’s Orchestral Theatre II‚ Re‚ Philharmonia Orchestra, Olympia/Giulietta/ Julian Close (Flemish Deputy) was born House from 2001–3, where subsequent roles and Tea (Suntory Hall‚ Tokyo)‚ Barry’s The Antonia/Stella () for Mid in Cheshire. He gained a Doctorate in have included Tarquinius (), Triumph of Beauty and Deceit; and the British Wales Opera, and Lidka (The Two Widows) Applied Physics at the University of Leeds Harlequin (Ariadne auf Naxos), Schaunard premiere of Ruders’ The Handmaid’s Tale for Scottish Opera at the Edinburgh Festival. and studied at the Royal Northern College (La Bohème), Bello (La fanciulla del West), (English National Opera). Recent appearances

28 29 include his debut at Opera Australia as Falstaff Ping (Turandot), Pish-Tush (The Mikado), and Stephen Dowson (Flemish Deputy) studied Billy Budd in Rotterdam and The Cunning Little and Sarastro (Die Zauberflöte); Kaspar Belfiore Un( giorno di regno). For Opera North, at the Royal College of Music, and later at the Vixen at the Gran Teatro Liceu, Barcelona. (Der Freischütz, Opéra de Rennes), and he has sung Belcore (The Elixir of Love), the Opera School there. A founder member of On the concert platform, the Chorus has Bartolo (Le nozze di Figaro) for Grange Park Father (Hansel and Gretel), and Papageno Opera North, roles have included Monterone/ given the world premieres of Takemitsu’s My Opera. Other roles include Daland (The (The Magic Flute). Count Ceprano (Rigoletto), Imperial Way of Life and Philip Wilby’s A New World Flying Dutchman), Claggart (Billy Budd), Commissioner/Prince Yamadori (Madama Dancing. The Chorus starred in Phyllida Lloyd’s Commendatore (Don Giovanni), Osmin A. Galloway Bell (Flemish Deputy) was born Butterfly), Baron Douphol (La traviata), highly-acclaimed production of Peter Grimes, (Die Entführung aus dem Serail), Sparafucile in Haddington, East Lothian and graduated Kuligin (Katya Kabanova), Antonio (The which was the winner of the South Bank Show (Rigoletto), Baron Ochs (Der Rosenkavalier) and as a chemical engineer from Nottingham Gondoliers), Kilian (Der Freischütz), Second Award for Opera and the Royal Philharmonic Timur (Turandot). University. He was awarded scholarships at Priest (The Magic Flute), Herald (The Love for Society Opera Award and was nominated for a He has performed at Netherlands Opera‚ the Royal Northern College of Music, where Three Oranges), and Second Barker (Showboat). Laurence Olivier Award. The Chorus has made Opera National de Paris‚ La Scala‚ Lyric Opera he won the Martin Honken song prize. A In concert he has performed Christus in Bach’s a number of recordings for Chandos including of Chicago‚ and the Salzburg Festival. founder member of Opera North, he has taken St Matthew Passion, Handel’s Messiah, Vaughan Michael Berkeley’s Baa Baa Black Sheep, many roles over the years, including Sciarrone Williams’ Sea Symphony and Beethoven’s Ninth Gerhard’s The Duenna and Walton’s Troilus Born in Lancashire, Riccardo Simonetti (Tosca), Judge (The Thieving Magpie), Physician Symphony. Radio appearances include Grand and Cressida. (Flemish Deputy) studied at the Royal (Pelleas and Melisande), The Notary Der( Hotel and Wood Goblin in Tchaikovsky’s Vakula Northern College of Music and began his career Rosenkavalier), Second Mate (Billy Budd), the Smith. TheOrchestra of Opera North holds a unique at English National Opera. He has also sung Commissario (La traviata), Chief of Police place amongst British orchestras, as the only for the Royal Opera at the Linbury Studio (L’Etoile), The Recorder of Norwich Gloriana( ), Since the foundation of Opera North in 1978, ensemble in the country to have a year-round Theatre, Glyndebourne Festival Opera, Opera Second Armed Man (The Magic Flute), Singer the Chorus of Opera North has established dual role in the opera house and concert hall. Holland Park, Opera Project, Welsh National (La Gioconda), Bertrand (Yolande), Micha a reputation for quality and versatility. The Orchestra plays a significant part in the Opera, Lyric Opera in Dublin, the Netherlands (The Bartered Bride), Dikoy (Katya Kabanova) The Chorus features in most Opera North major concert series of the region, appearing Opera, at the Buxton Festival, and at , and Ceprano (Rigoletto). In addition to productions at the Leeds Grand Theatre, with numerous international guest conductors Venice. His repertoire includes Enrico (Anna education work in Opera North’s Resonance touring the North of England regularly and and soloists. An important relationship with Bolena), Malatesta (), Suitor project with Faulty Optic, he has recently often travelling to Scotland, Northern Ireland Leeds International Concert Season sees the (Babette’s Feast), Albert (Werther), Guglielmo expanded his repertoire with Colas in Mozart’s and London. Festival appearances have included Orchestra performing regular concerts of major (Così fan tutte), the title role in Don Giovanni, Bastien and Bastienne staged in a pub, and Don Edinburgh, Wiesbaden, Ravenna and Bregenz, symphonic repertoire, a series of gala concerts, Count Almaviva (Le nozze di Figaro), Marcello Alfonso (Così fan tutte), performed in a cattle and the Chorus has performed Orfeo ed Euridice and combining with the region’s choral societies. (La Bohème), Sharpless (Madama Butterfly), auction ring. in Monte Carlo, Boris Godunov in Dortmund, It is also the resident Orchestra for the Leeds

30 31 Conductors Competition. Outside the region, working on the music staff of the Glyndebourne Otello at the Festival, and Albert Herring, Concert engagements have included the Orchestra has toured abroad with the whole Festival, Scottish Opera and Opera Factory. Die Entführung aus dem Serail, La Bohème performances with the London Philharmonic, company and independently in concert, and has In September 2004 Richard Farnes was and Le nozze di Figaro on tour throughout the Haydn Chamber Orchestra, the Orchestra of regularly performed in London. appointed Music Director of Opera North. UK. He returned to the Glyndebourne Festival Opera North, the Royal Opera House Orchestra, A strong commitment to educational and This was the culmination of a long association in August 2005 with ’s Flight. Royal Scottish National Orchestra and the community projects is a feature of the work with this most innovative of the UK’s opera Other opera engagements have included Scottish Chamber Orchestra. In 1992 of the musicians, collectively and also in companies, for whom he had already conducted performances with the Royal Opera House, Richard Farnes founded Equinox, a chamber collaboration with Opera North Education. a wide variety of repertoire including English National Opera, New Israeli Opera, orchestra and ensemble that aims to promote The Orchestra has received international La traviata, Simon Holt’s The Nightingale’s to Tel Aviv, English Touring Opera, Birmingham twentieth-century repertoire to wider audiences recognition for its recordings, and in the Blame, Giovanna d’Arco, Britten’s Gloriana, Opera Company, Opera Theatre Company in and which has given a number of concerts at operatic field Opera North has made several Le nozze di Figaro, Eugene Onegin and Dublin, and European Chamber Opera. St John’s Smith Square. important recordings for Chandos, including Cimarosa’s The Secret Marriage. Since taking the award-winning Troilus and Cressida, and as up this position he has conducted productions part of the Opera in English series, Nabucco and of Manon, Don Giovanni, La rondine, Katya Bluebeard’s Castle. Kabanova, Falstaff, Macbeth and Don Carlos, an award-winning production of Peter Grimes, Richard Farnes and concert performances of Elektra, Salome, read Music at King’s Hansel and Gretel, and Bartók’s Bluebeard’s College, Cambridge, Castle, which he also recorded for Chandos

© Richard Moran © Richard where he was organ Records. 2009 saw the world premiere of David scholar, and went on to Sawer’s opera Skin Deep, which toured to the study at the National Bregenz Festival in Austria. Opera Studio, Royal Richard Farnes has also had a close Academy of Music association with Scottish Opera, conducting and at the Guildhall La Bohème, Tosca, The Magic Flute, L’elisir School of Music, where d’amore, David Horne’s Friend of the People, he conducted the first British production of and a double bill of works by Param Vir, and Rossini’s The Journey to Reims. On completion at Glyndebourne, conducting The Makropulos of his studies he gained valuable experience Case and Peter Hall’s recent production of

32 33 William Dazeley as Rodrigo, Julian Gavin as Don Carlos and Jane Dutton as Eboli in Opera North,s 2009 production of Don Carlos © Arena Pal © Arena

© Arena Pal © Arena Jane Dutton as Eboli and Julian Gavin as Don Carlos in Opera North,s 2009 production of Don Carlos 34 35 British philanthropist Sir Peter Moores established the Peter Moores Foundation in 1964 to a Faculty Directorship and Chair of Management Studies at Oxford University (providing the realise his charitable aims and, to fulfill one of these, the Compton Verney House Trust in 1993 lead donation which paved the way for the development of the Said Business School). to create a new art gallery in the country. Through his charities he has disbursed millions of pounds to a wide variety of arts, environmental and social causes ‘to get things done and open In 1993 the Foundation bought Compton Verney, a Grade I Georgian mansion in doors for people’. Warwickshire, designed by Robert Adam, with grounds by Capability Brown. Compton Verney House Trust was set up by Sir Peter to transform the derelict mansion into a world-class Sir Peter’s philanthropic work began with his passion for opera: in his twenties he helped a art gallery that would provide an especially welcoming environment for the ‘first-time’ gallery number of young artists in the crucial, early stages of their careers, several of whom – Dame Joan visitor. The gallery, which houses six permanent collections, a Learning Centre for all ages, Sutherland, Sir Colin Davis and the late Sir Geraint Evans amongst them – became world- and facilities for major visiting exhibitions, was opened in March 2004 by HRH the Prince of famous. Wales. The Compton Verney website can be found at: www.comptonverney.org.uk

Today, the Peter Moores Foundation supports talented young singers with annual scholarships Sir Peter Moores was born in Lancashire and educated at Eton College and Christ Church, Oxford. awarded through the Royal Northern College of Music, has made it possible for Chandos He was a student at the Vienna Academy of Music, where he produced the Austrian premiere Records to issue the world’s largest catalogue of recorded in English translation, of ’s The Rape of Lucretia, and at the same time was an assistant producer with and enabled Opera Rara to record rare bel canto repertoire which would otherwise remain the Vienna State Opera, working with Viennese artists in Naples, Geneva and Rome, before inaccessible to the general public. returning to England in 1957 to join his father’s business, Littlewoods. He was Vice-Chairman of Littlewoods in 1976, Chairman from 1977 to 1980 and remained a director until 1993. In live performance, the Foundation has encouraged the creation of new work and schemes to attract new audiences, financed the publication of scores, especially for world premieres of He received the Gold Medal of the Italian Republic in 1974, an Honorary MA from Christ modern operas, and enabled rarely heard works to be staged by British opera companies and Church, Oxford, in 1975, and was made an Honorary Member of the Royal Northern College festivals. of Music in 1985. In 1992 he was appointed a Deputy Lieutenant of Lancashire by HM the Queen. He was appointed CBE in 1991 and received a Knighthood in 2003 for his charitable Projects supported by the Foundation to help the young have ranged from a scheme to services to the arts. In July 2009 he received the Stauffer Medal, the highest award of Germany’s encourage young Afro-Caribbeans ‘stay at school’ for further education, to the endowment of Baden-Wurttemberg Province.

36 37 On session: Alastair Miles © Bill Cooper © Bill Cooper

On session: Richard Farnes 38 compact disc one may the lighting flash of your anger turn to pardon Ah! I remember well that day, An Old Monk (disappearing slowly) for him, O Lord. that day with no tomorrow, when our hearts filled That peace will be found at the throne of God. Act I with hope. Scene 1 An Old Monk She and I were alone, alone together in France so Don Carlos No 1, Prelude, introduction and Scene of Friars But God is great! fair and lovely. I’m afraid! I’m afraid! With fiery glances He can shake the earth and the In the forest of Fontainebleau! 1 Prelude sky! Ah! There I first beheld her smiling, Rodrigo (entering) God who forgives all who repent. there she stole my heart with her charms. 4 There he is! The Prince! The Cloister of the Monastery of San Juste. On the To whom none turns in vain. Ah! Then we were forever parted. right a lighted chapel where we see, through a gilded God show mercy, grant him pardon and peace, Now she lies in my father’s arms. Don Carlos gate, the tomb of Charles V. To the left a door leading grant him that peace you alone can bestow, Each new day, oh fair enchantress, O my Rodrigo! outside into a garden with high cypress trees. To the but God is great, alone is great, yes god is great! brings no comfort, no hope from above… rear the entrance to the monastery proper. It is dawn. Ah! You stole in a single moment, Rodrigo The monks are heard singing in the chapel. A Friar Chorus of Friars my heart, my life, my dreams, my love… Your Highness! kneels before the tomb, praying. Charles the Fifth, our mighty Lord, Ah! You stole my heart, my life, my love! Lies here in dust and lifeless clay. Alas. And I have lost her! And I have lost her! Don Carlos Chorus of Friars (from offstage) The flash of your anger turn to pardon for him It’s you, let me embrace you! 2 Charles the Fifth, our mighty Lord, O Lord. An Old Monk (who stayed behind to listen to lies here in dust and lifeless clay Don Carlos) Rodrigo while his immortal soul in anguish prays for peace (The day dawns slowly. Don Carlos, pale and My son, all the griefs that assail us Dearest Carlos, my friend! and mercy on high. distraught, emerges from the vaults of the cloister. He must still be endured in this place. stops to listen and uncovers his head. At the sound of The peace that your heart so yearns for Don Carlos An Old Monk a bell, the monks start leaving the chapel. They cross dwells alone at the throne of grace. A friend whom God has sent to ease my grief, All the earth he claimed as his kingdom, the stage and disperse in the cloister.) angel of strength and hope! but forgot that king set on high Don Carlos (terrified) who rules both the earth and the sky. Don Carlos Ah, that voice, Rodrigo Tho’ his pride grew so great, greater yet was his 3 And I have lost her! (Bell. The friar leaves.) Beloved comrade! fall! All you powers of heav’n! it chills my heart, I am sure… The hour has struck! Another… and he’s my father… another… and he’s Oh my God, I heard the voice of Charles! In Flanders they call for a saviour! Chorus of Friars the King… And I saw the golden armour beneath a humble They must not call in vain, and you alone can Charles the Fifth, our mighty Lord, He has stolen my beloved! robe? help! lies here in dust and lifeless clay; The bride, whom I was promised! For here they say he has appeared before. But what is this?

40 41 Why do you grow so pale? Then I’m lost! Rodrigo Rodrigo (to Carlos) Why do you turn away with that look of sorrow? Even you now forsake me, But listen! They are here! And not a word! my Rodrigo turns away and renounces his friend? The cloister doors will soon be unbarred, You only sigh. You weep! admitting your father and the Queen. Don Carlos (with sudden emotion) Rodrigo I’m afraid! Oh my Carlos dear friend, let me share your grief No, Rodrigo still loves you! Don Carlos When I see her I tremble! and calm your pain! And I swear by my faith, you suffer… Elisabeth! that is all in the world that I see! Rodrigo Don Carlos Rodrigo Show courage! Dearest companion, my friend, my brother. Don Carlos O Carlos at my side show resolve and rouse your Let me mourn, let me weep in your arms! O my Rodrigo! fainting spirits, (Rodrigo withdraws from Carlos who bows before the for there in Flanders the people wait to greet their King who appears sombre and suspicious. Carlos tries Rodrigo Rodrigo saviour! to hide his feelings while Elisabeth is visibly flustered Hear the voice of the friend who loves you. My Carlos! We’ll pray that God may fire your soul with when she sees him. King and Queen step to the tomb Open your heart, let me share your grief. 5 But the King has not yet discovered your secret? strength! of Charles V, where Philip genuflects and bares his Tell me! head. They then proceed on their way.) Don Carlos Don Carlos and Rodrigo Don Carlos No! 6 God who has brought us together, Chorus of Friars (from offstage) Are you sure? fire our hearts with flames of glory, Charles the Fifth, our mighty Lord, Then learn all my sorrow! Rodrigo fire that is noble and pure, lies here in dust and lifeless clay Yes learn what fearful blow fate has struck in my Then you must ask his leave to depart now for flames of love that will set men free, while his immortal soul in anguish prays heart! Flanders. with a fire of love that is noble and pure, for peace and mercy on high. I love… with a heart full of guilt, Elisabeth! Thus by a deed worthy of you conquer your the love of liberty. heart… God grant that this love may fire us, Don Carlos Rodrigo and you shall learn there among those suff ’ring may freedom call and inspire us; She is his wife! Your mother! people accept the vow that we swear! And I have lost her!… God in heav’n! how a King should rule! We shall die united in love. Ah! Yes, I have lost her. She is his wife, Ah! Don Carlos Don Carlos (King Philip and the Queen enter in the midst of a Great God. You turn pale! Yes, you are right, my brother. group of monks.) She is his wife, and I have lost her! You’re unable to look in my eyes… (in desperation) (A bell is heard.)

42 43 An Old Monk Let us wait for our Royal lady, Thibault and Chorus Chorus Grant him that peace you alone can bestow. in this glade where the trees delight us. But you must choose and we shall follow, O pretty maidens look to your veils. God alone is great! Here we’ll rest and escape from the sun’s fierce O charming Princess Eboli! Weave them by sunlight, wear them by night. heat! Then when the moon shines bright above Rodrigo Eboli (to Thibault) you may capture the man that you love. Stay by my side, be strong and calm and steel your (Thibault enters with Eboli.) Very well, I have the answer: heart! we will sing a duet, the song of the Saracen maiden, Eboli and Thibault Thibault known as the Veil Song, you may join the refrain! Ah! Up above, you may capture the man that you Don Carlos and Rodrigo (with enthusiasm) The fountain cools the heat of summer. Let’s sing! love. We’ll live as one and together we’ll die… The cypress makes a shade above. May God accept our vow, And when evening shadows lengthen Thibault and Chorus Eboli let us live, and die united in love, faithful in love! the nightingale will sing of love. Let’s sing! ‘I can scarcely see you, darkness round us lies, Living as one bound together, scarcely see your fingers, see your pretty eyes. and together we’ll die; life or death! Chorus and Thibault (Eboli sings, accompanied by Thibault.) The King himself desires to make your heart his Here the shady cypress invite us own; Scene 2 And the murm’ring fountain will charm us, Eboli you will be my brightest jewel, you alone. No 2, Chorus and the Veil Song for its song is a sigh of love, 8 In the marble palace of the Moorish King, But take off that veil in response to my love, In the garden adjoining the Monastery of San Juste. yes, its song is a sigh of love. in the secret garden where the fountains sing shine bright and unveiled like that star up above.’ A fountain surrounded by grass-covered mounds And it sings that song to delight us; a veiled lady came to take the air one night, ‘Sir I must obey you, off with my disguise’, and orange trees. On the horizon the blue mountains to make the weary hours pass fleetly sat beneath the stars and dreamed of love’s delight. ‘O heav’n, it’s the Queen’, cried the King with of Estremadura. Upstage right the door of the we’ll rest sweetly while the sun blazes fiercely above, Achmet the Saracen king passed by surprise. Ah! monastery. The Princess of Eboli, Thibault, the calmed by water, cypress shade, while fierce and that veiled beauty attracted his eye. Countess of Aremberg and other ladies-in-waiting, sunlight blazes up above. ‘Come my pretty maiden, come rule in my life’, Eboli and Thibault, Chorus pages, etc. The ladies are sitting on the grassy mounds he declared ‘You see I am bored with my wife.’ Ah! O pretty maidens look to your veils. around the fountain, pages at their feet. One of the Eboli Weave them by sunlight, wear them by night. pages is tuning a mandolin. Since within the cloister no women may enter Eboli and Thibault Then when the moon shines bright above except the Queen of Spain, Ah! O pretty maidens look to your veils. you may capture the man that you love. Chorus while we wait dear companions Weave them by sunlight, wear them by night. 7 Where the pine grove is green and shady, let’s while away the time with some sport or some Then when the moon shines bright up above No 3, Scena, Romance and Trio where the soft grassy banks invite us, play? you may capture the man that you love. (The Queen comes out of the monastery.) by this cloister we may not enter, Perhaps a song… what would best amuse us? we have found a secure retreat.

44 45 Chorus Eboli (in a conversational tone, to Rodrigo) Rodrigo Elisabeth (aside) 9 The Queen! 10 I’m so eager to hear the news you bring, None so bright as she before me now. (Ah, I tremble!) the news from France, come tell us ev’rything. Eboli (aside) Elisabeth (to Rodrigo) Eboli A mysterious sadness clouds her days and fills her Rodrigo (to Eboli) God can see in my heart. Who could it be? with sorrow. I hear a tournament has been planned, (aside, reading the note) which they say will be attended by the King… ‘By the mem’ries that bind us by the name of all Elisabeth Elisabeth (sitting near the fountain) you hold dear; Speak on. I heard your song, gay, and free from care… Elisabeth (holding the note in her hand) by my life, in this man, as in me, you can trust. (aside) (Ah! I do not dare… Carlos.’ Rodrigo Alas, in days gone by, my heart was joyful too! If I read it; will I be false to my vow?) 11 Carlos my friend, hope of our future, Eboli lives here in grief and filled with care, (Rodrigo appears in the background. Thibault Eboli (to Rodrigo) At these dances the ladies, or so I’m told, no one can guess his bitter suff ’ring, approaches him. After a brief exchange of words, the All the women of France, they tell us, are dressed in silk or else in shining gold. no one relieves his sad despair. page turns to the Queen to introduce Rodrigo.) in grace and charm and kindness excel us. But you, his mother, you can console him, Rodrigo (to Eboli) bring him new comfort, give hope again. Thibault Elisabeth Silk or gold, nothing could compare Let him appear, say you’ll receive him The Marquis of Posa, begs to see you. Ah! I tremble! with what our lovely princess chooses to wear. and save your son, O save the Prince and calm his pain. Rodrigo (bowing to the Queen.) Rodrigo (to Eboli) Elisabeth (to Rodrigo) My lady, I’m lately come from France and I bring It’s far from true, here in Spain I find a princess Good! I thank you. You may ask a favour from Eboli (aside) you, from your mother, this letter entrusted to more fair and twice as kind. the Queen. One day as I stood by the side of the Queen, my care. I saw Carlos grow pale and turn away. (Rodrigo, while handing the letter to the Queen, Elisabeth (to Rodrigo) Rodrigo (eagerly) Is he in love? In love with me? quickly slips her a note, then shows the Ladies the In my soul I am blameless. I shall but not for me. royal crest on the letter. He whispers to the Queen.) Elisabeth (aside) (And this, it’s of vital importance.) Eboli Elisabeth How can I bear to see him. (in a normal voice) At the court they say when there’s dancing, (God give me strength to bear it!) He is here! I’m afraid! Behold the royal seal, with the crown’d fleur-de-lys. rows of beauties grandly appear, shining and fair, like goddesses entrancing. Eboli (to Rodrigo) Eboli (aside) (to Eboli) Who more worthy than you could seek reward or Why not reveal his love? Is it true? favour from the Queen?

46 47 Rodrigo (Rodrigo offers his arm to Eboli and, conversing Don Carlos (vehemently) Elisabeth (greatly moved) Ah! Carlos the prince, spurned by his father softly, leads her off.) Don’t use that name. Oh Carlos how can you call my heart unfeeling feels that his course on earth is run: (Elisabeth is on the verge of leaving.) and cruel, yet I know not who in the kingdom No 4, Gran Scena and Duet Remember what we were. can you not see why I’m stern, why I’m silent? more deserves his love than the King’s own son? (holds her back, pleading) Like a flame, burning bright duty shines to light One word of love, one word would cheer him, Don Carlos is admitted by Thibault. Rodrigo quietly Alas! my path; bring him new comfort, give hope again. gives some instructions to Thibault who subsequently Show some pity! Please stay! and her light must be my guide for God alone can Let him appear, say you’ll receive him, disappears into the monastery. Don Carlos slowly See how I suffer; please stay! help and save me! and save your son, O save the Prince and calm his advances towards the Queen and bows to her O cruel Heaven, you gave one day of joy and then pain. without ever raising his eyes. Barely able to control snatched it away! Don Carlos (as if about to die) her emotions, the Queen beckons him to come closer. O love I lost, O treasured jewel Eboli (aside) Rodrigo and Eboli motion the ladies to disperse Elisabeth (absorbed in conversation, Rodrigo and my one hope of joy, all I live for! Is he in love? In love with me? In love with me? slowly among the trees. The Countess of Aremberg Eboli cross the stage) Oh, speak to me, enchant my soul. Is he in love? Then why does he not speak? and two of the ladies stay nearby, somewhat unsure Prince, if the King is prepared to grant what I shall When I hear your tender voice paradise then is of what they should do. After a while they, too, ask him mine! Elisabeth (aside) pretending to gather flowers, withdraw gracefully. he will send you to Flanders to rule in his name; Alas! how can I bear to see him… you shall leave for Flanders today. Elisabeth O God! He is here!… I’m afraid. Don Carlos (calmly) O God above, restore his heart, 12 I come before the Queen and I ask for a favour, (Rodrigo and Eboli have left. Elisabeth makes a may he find repose and forget me! Rodrigo knowing that in the heart of the king she holds the gesture of farewell to Carlos and starts leaving.) Carlos farewell, we’ll meet no more. Ah! Save, O save the Prince, place of highest honour. Ah! life beside you, paradise then were mine! save our friend for you can ease his pain. She can alone obtain that favour I seek. Don Carlos (increasingly excited) Ah! Not a word; you dismiss me into exile with Don Carlos (feverishly exalted) Elisabeth (to Theobald, with dignity and firmness) Here in Spain I suffer… I’m stifled, I’m no farewell! Oh, what wonder! Go, say the Queen is here to receive her son! tormented… Calmly you turn aside and leave me, no glances or My heart, in its grief is consoled. haunted by thoughts of death and horror. tender regret! All the pain and the sorrow have vanished. Eboli I must leave. Alas! My soul is in torment, I’m dying of grief. And heav’n, sees my tears, yes heav’n has granted (aside, nervously) Will you please ask the King to send me to Insanely I have cried before a statue my prayer. In love with me!… then why not dare to show his Flanders. of marble, and a heart cold as ice. At your feet in a dream of enchantment, I die! heart, reveal his love. Elisabeth (visibly moved) (He faints.) My son!

48 49 Elisabeth Don Carlos (coming to) Thibault (hurrying from the cloister) remember that you are dear to me. Mighty God the life is fading in those eyes now From the peace of the tomb, from eternal sleep. 14 The King! But conceal this wrong done me, filled with tears. Why return me to life, cruel God? all the shame I’m forced to bear. Restore his heart, O God of mercy, Philip (to Elisabeth) Do not tell them of my suff ’ring, may his noble soul find repose. Elisabeth Why alone here my lady? these tears of grief and pain, Alas! the sorrow overwhelms me, Oh! Carlos! The Queen is not allowed to remain unattended! to France you must return, our France, you’ll see and in my arms trembling and pale of love and of Do you ignore the rule of my court? again. grief he is dying, Don Carlos Which of you ladies-in-waiting has failed in her Greet that land from an exile in Spain. the man to whom I was betrothed! 13 Here where I stand let the earth crack asunder. task? To France, you are returning, Out of the sky let the thunderbolt strike me. (The Countess of Aremberg steps out of the group take a greeting to France from an exile in Spain. Don Carlos (delirious) I love you! I love you Elisabeth, and approaches the King, trembling.) I hear the heavenly voice, it speaks to me of love. (taking her in his arms) (to the Countess) Rodrigo It’s you Elisabeth, my own beloved, the world is you alone! Countess, you will leave for France tomorrow. Glistening tears attest that she is pure and for you are here by my side, as when first we met. blameless, And spring returns again to greet us with her Elisabeth (breaking free) (The Countess breaks out in tears. Everybody looks cruelly wronged by the King. flow’rs. Would you strike and kill your father, at the Queen, startled.) She is pure, she is wronged by the King. and then still wet with his blood Elisabeth would you lead to the altar your mother, Chorus Philip (aside) O what madness is this! and would you strike and kill your father. Oh! What an insult to the Queen! Boldly she dares defy me, pretends she’s He is dying! O gracious heaven! blameless, Don Carlos (reeling back, aghast) Elisabeth dares to defy the King! Don Carlos Ah! I am cursed, I am cursed! 15 Don’t weep, my dear companion, O my Elisabeth, it’s you Elisabeth! O dry these tears though we so soon must part. Chorus You are my life, my own beloved, it’s you Elisabeth Though from Spain you are banished, Glistening tears attest she is pure and blameless, Elisabeth! God above kept watch over us! you’ll remain here within my heart. cruelly wronged by the King. You are my life, my own beloved, it’s you! O God! O God! At your side I spent my childhood, She is pure, she is wronged by the King. those days will not come again! Elisabeth No 5, Scena and Romance To France you must return, (In tears, the Queen moves away from the Countess O my God! O my fear! our France you’ll see again. Ah! and leaves the scene, supported by Eboli. Everybody O gracious heaven! King Philip, Thibault, the Countess of Aremberg, Greet that land from an exile in Spain! withdraws.) Rodrigo, Eboli, the ladies-in-waiting, Philip’s (handing the Countess a ring) entourage, and pages enter in quick succession. Receive this ring and wear it,

50 51 No 6, Scena and Duet Rodrigo Philip Your people die and their groans have been (Rodrigo genuflects before the King, then goes Nothing, no… nothing for me, but for others. Blood is the price that’s paid for peace in my silenced, towards him, without showing any sign of awe.) dominions, and all your empire is a wasted desert where the Philip my thunderbolt has crushed those proud name of King Philip is accurst! Philip (to Rodrigo) What does that mean? For others? rebellious men You could spread great as God, joy and peace 16 Remain here! who tried to fool the people with their false lying through your empire. I’ve seen you at my court, but you have never Rodrigo dreams, King rouse yourself, show yourself sublime now, asked for an audience with me? Sire, I shall speak, freely if I am allowed. and death sown by my hands, yes death had reaped show all the world how a King should rule; I am a man prepared to reward all my friends; and its harvest! one word from you could change the world and you have, so I am told, served the Empire bravely. Philip set all people free! Speak on. Rodrigo Rodrigo And you believe by sowing death you sow for Philip Why should I seek reward or favour from the Rodrigo future peace? Strange and fantastic dreamer. King, Sire? 17 O King, I come here from Flanders, You’d quickly change your mind if you but knew I live content beneath the law of your realm. from that country once so fair; Philip the hearts of the men that is now but a desert of ashes, Look at Spain, there’s your answer, as they’re known by their ruler! Philip a place of death and despair! where the workmen in the towns, That’s enough! The King has not heard what you Pride is a trait I admire, boldness a fault I can There in the streets there are orphans, the peasants in the country said! pardon… if I wish. they’re starving and beg for food, accept the laws of God and the rule of their King. Have no fear! But beware my Grand Inquisitor! (after a pause) stumbling as they flee from the flames, I’ll bring that kind of peace to my Flanders! But I’m told you have left my army; and men like smeared with their own parents’ blood! Rodrigo yourself who are born and bred as soldiers are not The streams are laden with corpses, Rodrigo What… Sire! contented living in peace. the rivers with blood run red, A mockery of peace, the peace that fills the grave! and the air is loud with shrieking O King! Would you have future ages curse your Philip Rodrigo of women who mourn for their dead! name and say ‘A second Nero!’ You have stood here in my presence and asked no If Spain has need of a sword to defend her, if my Ah! great God be blessed for this meeting. 18 What kind of peace is this you give your subjects? favour, for yourself from the King. country is wronged, if a foe should be near, then Thy hand has led me to bring news of Flanders in What do you give them but fear and horrors From now on, you shall stay here at my side. my hand and my sword will be the first to serve torment unending. her! to the throne of the King. Your priests are men of blood and your soldiers Rodrigo beasts of prey! Sire! No! Let me stay as I am! Philip That I know… but for now what would you ask me?

52 53 Philip Rodrigo (aside, overwhelmed with joy) Drunk with desire, filled with delight and longing. Eboli You are too proud. A sudden ray of hope is dawning! Elisabeth! My love, ah my life I am here! We’ll live for love You look into my eyes and tell me how I should The King has bared his heart which was always (Eboli enters, her face hidden by a veil. Don Carlos (She removes her veil.) govern closed before! believes her to be the Queen and addresses her but do you also see the pain and torment that passionately.) Don Carlos (aghast, to himself) weighs on the man beneath the crown! Philip It’s you, it’s you, my own beloved, Ah! It’s not the Queen! Can you guess at my grief… the troubles that Ah! May this day of hope restore my peace of you’re here amid these flow’rs, surround me, mind! it’s you, it’s you my soul’s enchanted. Eboli disgraced by my own son, tortured by my own May it restore peace to my mind! The future now is ours. O heav’n! What has happened, you’re so pale, wife! Beware my Grand Inquisitor! Beware! Beware! Oh source of joy my soul’s contented so still and why don’t you speak? for now you’re here can this be true? What spectre is haunting our love? Rodrigo (The King extends his hand to Rodrigo who kisses it Oh sweetest pain my heart’s tormented, Can you doubt that my heart beats only for you. Sire, what can you mean? while kneeling down. The curtain falls quickly.) my love, ah my life, it’s you! (Carlos does not answer.) 3 Alas your youthful mind has no idea Philip Eboli (aside) what dangers lie along the path you tread, The Queen… I am racked by suspicion… my son! compact disc two A love like his is the dream I’ve longed for. you have not heard that distant thunder, Ah, how sweet to be loved like this! nor seen the lightning gather round your head. Rodrigo (quickly) Act II His heart is pure and noble! Scene 1 Don Carlos Don Carlos In a dream let us live, forgetting all the future! I know well those hidden dangers Philip (breaking out in pain) 1 No 7, Prelude The past is no more; One thing alone remains! waiting on that lonely path I tread. All I love in the world is stolen by my son! I love you, I love you! I hear the sound of distant thunder (Rodrigo looks at the King in wordless No 8, Scena, Duet and Trio as the lightning gathers round my head! apprehension.) A secluded grove with a fountain. It is a clear night. Eboli From now their fate is in your hands. Ever united, we shall live for our love! Eboli You must observe this mad infatuation. Don Carlos (reading a note) I must warn you that your trusted Posa By my leave you may speak when you wish to the 2 At midnight in the garden of the Queen… Don Carlos was talking with your father, talking of you. Queen! Under the trees beyond the fountain. In a dream let us live, forgetting all the future! You alone in my court, are a man. And now it’s midnight! We’ll live for love! Don Carlos I take my heart and place it in your hands. I hear in the darkness the sound of the murmuring Rodrigo! waters…

54 55 Eboli Eboli Rodrigo (to Eboli) like a tigress who’s wounded. Yes, I can save you, I can save you, I love you. I looked in his heart, read its depths; Confess, confess and let us learn your pow’r. He’s in my pow’r. Carlos is doomed, cannot be saved. What were you doing here at this hour? Don Carlos Eboli (with bitter irony) How can I believe the news she has revealed! Rodrigo (in a menacing tone) Eboli And I used to tremble before her. How can this be true? What was that? I turn at bay like a tigress wounded, Tho’ she was robed in a mantle of virtue, beware of a woman offended. tho’ she walked through the court with the air of Eboli (worried) Eboli a saint, O Carlos! Let me go! Rodrigo all the while she was greedily draining the cup of Beware the wrath of God above; the pleasures of passion! Don Carlos Rodrigo He will protect innocent love. Ah! By my faith, she was far too brazen! I know your heart is good and noble, What was that, wretched woman? but mine must remain closed to thoughts of joy, Tremble. I am… Eboli Rodrigo (drawing his dagger) we were both led astray by a dream of madness, He’s in my pow’r, you cannot save him. For that you die. wrought by the spell of night and the scent of the Eboli flow’rs. The fav’rite of the King. Yes, yes I know. Don Carlos Don Carlos (restraining him) But in me you’ve found a foe wild and dangerous; I’m to blame, I’m to blame, Oh what bitter sorrow, Rodrigo! Eboli I know all of your pow’r, you cannot guess at I’ve dishonoured the name of my mother! A dream? Oh heavens! mine! God in heaven looks down from above, Rodrigo Then those words that you uttered, words of He’ll protect an innocent love! Those accursed lips of hers must swallow their burning passion were meant for another! Rodrigo poison forever! Oh my God! Now I know! What are you trying to tell me? Rodrigo You’re in love with the Queen! Confess and let us learn what you were doing here Don Carlos (to Rodrigo) Eboli at this hour. Rodrigo, are you mad! Don Carlos (losing control) Nothing! Beware the wrath of God high above, It’s true! (with subdued but unmistakable meaning, to He will protect innocent love. Eboli Rodrigo) Do you fear to strike me? Rodrigo ( ) entering rapidly 4 Now he has scorned the love I gave him, Eboli What did he say? he’s in my pow’r, you cannot save him. Now he has scorned the love I gave him. Rodrigo He is demented, can you not see he’s out of his He’s in my pow’r, you cannot save him. No! mind! He’s in the pow’r of a woman offended,

56 57 Eboli If you should speak, then God will strike you to Don Carlos Chorus of People Then strike me now! Here I am! prove you lie! No, no, Oh my friend, my dear companion: 6 Today is a day of gladness and joy, He’ll show you no mercy, he will strike you and My love for you cannot fail. today is the day we greet and praise our King of Rodrigo (throwing the dagger away) you will die! You know this heart is yours for ever. Kings! No, one hope is left me and God will be my guide. My friend whom I trust as a brother! The world unites to sing his praises, Don Carlos Here, all my plans and my papers, they are here! ev’ry land must own him as master! Eboli (to Don Carlos) Ev’rything’s lost, she knows my secret, Our great love will be with him always. 5 Treacherous son, adult’rous lover, merciful God, O hear my cry, Rodrigo Was ever love more richly earned? for my revenge I mean to cry! ev’rything’s lost, she knows my secret, Carlos my friend. His name is the pride of Spain What you have done admits no pardon, merciful God, O let me die! Ah, you may trust my love! and that name will live forever in glory! when I reveal it you must die! Eboli Don Carlos Chorus of Monks (the monks cross the stage, Rodrigo Treacherous son, adult’rous lover, Ah, now I trust your love! leading the condemned towards the stake) If you should speak, then God will strike you, for my revenge I mean to cry, Today is a day of repentance, raising his arm to prove you lie! what you have done, admits no pardon, (They fall into each other’s arms.) a day of wrath, a day of fear, If you should speak, He’ll show no mercy, when I reveal it you must die! of grief for guilty wretches He will strike and you will die. Beware adult’rous lover, beware of me, Scene 2 who have dared to offend the sacred laws of God! for what you’ve done admits no pardon, Yet Holy Church will grant her pardon, Don Carlos O treach’rous son for you must die. No 9, Finale if once the sinner confess his crime and repent Ev’rythings lost! She knows it all! when death approaches, O bitter sorrow! O God in mercy hear my cry; Rodrigo A vast square in front of the Cathedral of Our when the flames have consumed his pride! hear, Oh God, Oh hear my cry! Carlos! If you are carrying any dang’rous letters, Lady of Atocha. To the right, the church, with an any notes, or plans: entrust them now to me. impressive flight of steps leading up to it. To the left, (The monks disappear in the crowd.) Eboli a palace. To the rear, another flight of steps seems to Beware! Adult’rous son, beware! Don Carlos (hesitating) lead to a lower square in the centre of which a stake Chorus of People To you, the fav’rite of the King! has been erected whose top can be seen. The horizon Glory and praise to our great King! Rodrigo is formed by large buildings and distant hills. His name is the pride of his people, If you should speak, then God will strike you, Rodrigo his name will live in glory for evermore. raising his arm to prove you lie! Is Carlos mistrustful of me? (The sound of festive bells is heard. A milling crowd, Our great love will be with him always, If you should speak, He’ll show no mercy, held in check with difficulty by halberdiers, fills the was ever love more richly earned? He will strike and you will die. stage. A funeral march is heard. A group of monks is crossing the stage, leading those condemned by the Inquisition.) 58 59 Glory, praise to our King the King of Kings, Chorus of People Philip Elisabeth, Thibault, Don Carlos, Rodrigo and his name is the pride of Spain, Let the sacred doors now be opened. Who are these men before me on their knees? Chorus of People the pride of his people, it will live in glory for The house of the Lord be revealed! May the King in his grace grant them mercy and evermore. O silent great Cathedral now restore us our King! Don Carlos pardon. We praise our King, love live the King! They have been sent from Brabant and from Pity the men who live in that suffering place (When the church portals open, we see King Philip Flanders, who groan and weep beneath your heavy chain (Rodrigo, the Count of Lerma, Elisabeth, Thibault, in full regalia, the golden crown on his head, and I, your son, have led them before the King! whom to death you condemn! pages, ladies-in-waiting, gentlemen of the realm, surrounded by monks. The people kneel down. Oh grant them grace, forgive these men from that and heralds now enter in a solemn procession The grandees cover their heads.) Six Flemish Deputies unhappy place. from the palace. All the state offices, the court, the Hear us, hear us. You can forgive those suff ’ring men whom to imperial deputies from the Spanish provinces, are Philip Sire must we learn the day of doom has come, death you condemn. represented. The procession comes to a halt in front of When I placed on my head the sacred crown of must Flanders cry in vain? the church steps.) Spain All your subjects implore you in their grief and Philip I gave my solemn word to God whose hand distress, Unfaithful to God, yes unfaithful, Chorus of People bestowed it, Ah, help us in our pain! and unfaithful to their king. Today is a day of gladness and joy, that all his foes I’d destroy by fire and sword. When you knelt in the House of God, These men of Flanders rise in rebellion. Today is the day we greet and praise our King of did His voice not inspire your heart to peace in Kings! (Everyone bows in silence.) your land? Flemish Deputies The world unites to sing his praises, Then spare our noble country mighty King. Learn the day of doom has come, must Flanders ev’ry land must own him as lord! Chorus of People Yes, save our noble country cry in vain? We praise the King! We praise the King! Long live the King! Praise to God! which God Himself did entrust to your hand! All your subjects implore you in their grief and The King, his name will live for evermore! distress (Philip descends the stairs and takes the Queen’s Philip for you can help our pain, O save our beloved (A Herald addresses himself to the portals of the hand in order to continue the procession. All at once To God the Flemish are unfaithful, country church which are still closed. Everyone bares his six Flemish deputies, clad in brown, appear, led by their King they disobey. which God himself did entrust to your hand! head.) Don Carlos. They kneel at the King’s feet.) And they rebel, rise up against me. Seize them! And take these traitors away! Don Carlos Royal Herald Elisabeth (aside) 9 Sire! I have something to ask you! 7 Let the sacred doors now be opened. 8 O Heav’n! It’s Carlos! Monks Must I spend all my days leading this useless The house of the Lord be revealed! Men of Flanders are always faithless. existence here at your court? O silent great Cathedral now restore us our King! Rodrigo (aside) The laws of God they disobey. For if God should bestow one day on my brow This will lead to disaster! They break God’s law the men of Flanders, that noble imperial crown, and they rebel against the King! 60 61 for that duty prepare me, ensure that I am worthy! Don Carlos (The King, taking the Queen’s hand, resumes the Philip Let me rule in Brabant and in Flanders. So who will dare to take my life? procession. Their entourage follows them to their Praise to God! For I’m prepared to sell it dearly. seats where they are to watch the Auto da Fé.) Philip Chorus of People You’re insane if you dare suggest it! (The grandees retreat before Don Carlos. Furiously, Chorus of People Praise to God! You asked that I should give you a sword the King seizes the sword of the Commander of the Today is a day of joy and gladness, that you can raise against the King himself! Guard.) today is the day we greet and praise our King of (The stake goes up in flames.) Kings! Don Carlos Philip The world unites to sing his praises, (Curtain) Ah! God reads into our hearts! Must I do so myself! ev’ry land must own him as master! He alone will judge our actions. Rodrigo (to Don Carlos) Monks compact disc three Elisabeth Yield your sword, sir! But today is a day of repentance. I tremble! Act III Elisabeth Voice from Heaven (from far off) Scene 1 Rodrigo (drawing his sword) 10 O heav’n! O fly to heav’n above, O fly poor souls that burn The prince is lost! in torment! No 10, Introduction and Scena (Don Carlos hands the sword to Rodrigo who bows Draw nigh to the throne of love where peace will Don Carlos and presents it to the King.) always invite you! 1 [Introduction] Then by God here I will swear to defend the noble Day of calm. people of Flanders myself! Don Carlos The King’s study in Madrid. Philip II, deep in You Rodrigo! Flemish Deputies (watching from downstage as the thought, sitting at a table strewn with papers. Elisabeth, Thibault, Rodrigo, Monks and stake starts burning) Two candles are nearly burnt down. Dawn starts Chorus of People Chorus of People Can God allow this shame? breaking, lighting the window. A sword before the King! He! Posa! Will he not put out the flame that they light in The prince has lost his senses! his name? Philip (as if in a dream) Elisabeth See the pyre is aflame, it is lit in his name. 2 She has no love for me! Philip He! No! She closes her heart, she has no love for me! Guards! Now disarm the prince! Monks Well I recall her glance when she met me in My lords, defenders of my throne let the prince be Philip A day of wrath, day of fear, a day of grief and of silence, disarmed. Marquis, I make you duke! fear! saw my grey hair, that day she came from France What? You dare not? You dare not! Light the flames to heaven’s glory! to wed me.

62 63 No, she has no love for me! Count of Lerma Grand Inquisitor Grand Inquisitor (coming awake) 4 The Grand Inquisitor. The peace of the Empire demands the blood of Then it is I, who must speak to you Sire. Where am I? All the candles are burnt out, sons in rebellion. 5 In this land of Spain no heresy has thrived, the silver dawn is in the sky… and it is day! Grand Inquisitor but now a man has dared undermine the Holy My life stretches empty before me. Am I before the King? Philip Church; I never sleep; but brood on my weary existence. Can I kill my son for th’ Empire, I, a Christian? he’s friendly with the King, shares in his secret 3 I’ll only sleep when I am laid to rest, Philip counsels, wrapped in royal robes, when my last hour has Yes, I have sent for you, my Father, I need your Grand Inquisitor he’s a fiend who is driving the King to destruction. called me, help. God, to save the world, sacrificed his only son. The crimes of the Prince which cause you such then I shall sleep in a cold tomb of marble, Carlos disturbs my peace, fills me with bitter distress, I’ll sleep alone in a cold tomb of marble within the sorrow; Philip compared to his are naught, but the games of a vaults of th’Escurial. My son has drawn his sword against his own And such a cruel act is justified for all? child, Why cannot the crown bestow on kings the pow’r father. and I your Grand Inquisitor, I while raising my to read deep in men’s hearts where God alone can Grand Inquisitor hand see. Grand Inquisitor For all wherever the cross has been raised to on the poor and the weak condemning them to Ah! Why cannot the crown give to monarchs the And what have you decided to do? inspire them. die, pow’r I have withheld my sword from the great ones of to read the hearts of men where alone God can Philip Philip this land. see! All or nothing. What of nature and love, can I deny their voice? I’ve left in peace so far the evil traitor and you! If the King sleeps, treachery lurks in the darkness; plotting to seize both his crown and his wife! Grand Inquisitor Grand Inquisitor Philip She has no love for me. No, she closes her heart. That much is clear. Such denial is the price we must pay for the faith. I sought an honest man to share my heavy No love for me! burdens, Philip Philip I had need of a friend, instead of fawning (He again loses himself in his thoughts.) Into exile, or else the scaffold… He dies then! courtiers. A man whom I could trust, and I have found him! No 11, Scena Grand Inquisitor Grand Inquisitor And so? And has the King nothing else he would tell me? Grand Inquisitor (The Grand Inquisitor, ninety years old and blind, But why a man? Why presume to call yourself a enters. He is supported by two Dominican friars.) Philip Philip King? If I put him to death, will you give me absolution? No! Sire, if you need help from a man.

64 65 Philip Two Kings I’ve giv’n this Empire, I know the King will support my case. Have you nothing to tell me? Enough priest! now must the work of my days be destroyed by For here within your court I have been shamefully A portrait of Carlos. your madness! treated, Grand Inquisitor Then why was I called here? and by some secret foe, I am wronged and Elisabeth The spirit of reform has poisoned you already! You have no need of me! insulted. Yes! Do you think that your feeble hand could ever My casket, it contains Sire, the things I value, shake (He is about to leave.) all my jewels, not only them but all I hold most Philip the Holy yoke which is laid upon the Christian dear, Concealed with your jewels? world? Philip a thief has dared to steal! Return King, to your duty; My father may the peace we have known be I ask you for justice! I demand restitution from Elisabeth the Church, a kindly mother can forgive erring restored. the King. Yes! sons when their repentance is sincere; Grand Inquisitor (He proceeds on his way out.) (The King rises slowly, takes a casket from the table, Philip you must yield us the Marquis of Posa. The peace? offers it to the Queen.) What! You dare confess that to me?

Philip Philip Philip Elisabeth No, never! Can you forget all that’s been said? What you have lost, my lady, is here! Yes I dare! 7 You know full well, my hand was plighted Grand Inquisitor Grand Inquisitor (in the doorway) Elisabeth to Don Carlos, yes to your son! O King, were I not here with you, Maybe! Heav’n! I came to you at God’s command had you not called me today pure as the fleur-de-lys of France! by God I swear before tomorrow’s dawn Philip Philip Yet you dare insult my honour, the King himself would stand before the So must the King bow down before the priest’s Would you care to look inside? cast doubt on a daughter of France! Inquisitor. commandment! (The Queen makes a sign of refusal. He breaks open Cast doubt on the word of a princess, the casket.) doubt the Queen of Spain! Doubt me! Philip No 12, Scena and Quartet I’ll open it myself! Priest! I’ve had enough of your insolent pride! Philip (The Queen enters, very excited, and throws herself Elisabeth (aside) You’re far too bold, you speak too freely! Grand Inquisitor at the King’s feet.) God I am lost! So far you’ve only known me in my moments of Why ask for help from God if you have lost your weakness, faith? Elisabeth Philip that weakness will not last, you’ll see it turn to I taught you in your youth. 6 Your highness I ask for justice! Here’s a portrait of Carlos! rage. Then heaven help both you and me! 66 67 Elisabeth Philip (aside) I hope for peace. Eboli And what has been my crime? 8 Accurst be this hour. Oh remorse! Oh regret unavailing. Ah, my remorse overwhelms me! My heart breaks This wretched suspicion, I’ve betrayed my innocent mistress. with grief. Philip work of a cruel fiend, Angel from heav’n. Oh my Queen true and noble, You lied to me! of a fiend sent from hell! Philip now learn what cruel fiend from hell has worked If your disgrace is as deep as I think it. No, she is proud and honest, I know that her soul your ruin! If you’ve betrayed me, Eboli (aside) is pure. Your case of jewels was stolen by me! then by God high above I swear to be revenged Oh remorse, Oh remorse, Oh regret unavailing! No! She is good, and she is honest, with blood! I have sinned. I have sinned, committed a crime, I know her soul is pure and true! Elisabeth Oh remorse! Accurst be this hour, oh unworthy suspicion. You! Elisabeth How I pity you! Philip Rodrigo Eboli No! She is good and she is honest. The time has come, I hear the thunder, Yes! And I, I wrongfully accused you! Philip I know her soul is pure and true! the lightning flashes and I must act! What? You pity me, an adulterous wife! I hear the thunder and this land of Spain requires Elisabeth Rodrigo (aside) a victim What, you! Elisabeth (fainting) The time has come, I hear the thunder, who’ll die to ensure her future peace. Ah! the lightning flashes, and I must act, Eboli This land of Spain requires a victim (After a moment of hesitation, the King leaves. With Yes, my love and my rage, the hate I felt for you! Philip (opening the door to the rear) who will ensure her future peace! an obvious gesture of decision, Rodrigo follows him. Passion and fury combined to torment me Someone help the Queen! Eboli remains alone with the Queen.) and jealousy poisoned my heart! Elisabeth (coming to) For I loved Carlos! By him I was rejected! Eboli (terrified at seeing the Queen lying Where am I? No 13, Scene and Aria unconscious) Alas! Oh help me mother. Elisabeth Ah! What have I done! My God! See these tears that burn in my eyes. Eboli (throwing herself at the Queen’s feet) You loved Carlos! Rise again! Alone in this country so unfriendly! 9 Forgive! Forgive and pardon a woman who’s Rodrigo (to the King) Grant me, Oh God, grant me peace! wronged you. Eboli Sire! When half the world looks to you as its ruler: No! Forgive! There’s more to tell you… one man alone you have failed to subdue, Eboli Elisabeth the King has no pow’r to command himself? Oh remorse! Ah remorse! Why do you kneel? What is it? Elisabeth I’ve betrayed my innocent mistress, how can There’s more? I hope for peace. I have sinned, committed a crime and how can 68 69 Eboli What of Carlos? Rodrigo now I give my life, I gladly give my live for you. Forgive, forgive! Ah! They will kill him… by tomorrow he may be My Carlos! For death is welcome, Carlos my friend now I die The King… I beg you do not curse me! dead! for you. Yes, seduced me, defiled me! Ah! One day is left me, and hope once more Don Carlos I who dared accuse you… revives me. You were right, for all my strength has failed me. Don Carlos (worried) I… yes I myself am guilty! Ah! Yes hope revives me, for in that day I can save My love for the Queen is a grief that will kill me. 13 But why do you speak of death? his life! No, I can do no more for our people. Elisabeth One day is left me, I bless that day! But you can bring Flanders that golden age we Rodrigo Give me back my cross! I shall save his life! both longed to see. Listen, time is pressing, for I have drawn the fire of (Eboli hands it to her.) your father’s retribution! Before tomorrow’s dawn be gone from my court. (Exits quickly.) Rodrigo From today, it is not you they seek; all blame for Between exile and the veil, you now may choose! Oh! You have still to learn now much I love you! the rebellion in Flanders is mine! Scene 2 Soon you will leave this dismal place of death. (The Queen leaves. Eboli rises.) My heart is filled with joy, let your friend now Don Carlos No 14, Death of Rodrigo embrace you! O Rodrigo, who’ll believe this? Eboli (in despair) I’ve saved your life! Ah! From my Queen I am exiled, I’m banished The prison of Don Carlos. A dark dungeon, hastily Rodrigo forever! furnished with a few appropriate objects. Through Don Carlos (deeply moved) The evidence is damning! 10 Oh cruel fate. Oh hated gift, a gift that heav’n the iron bars which separate the prison from the My life? All your papers were found on me, bestowed in anger! courtyard beyond we see guards pacing up and plans and secret plots, overwhelming proof of You who can make a woman so vain. down. A small stairway leads from the courtyard Rodrigo treason. Beauty I curse you, beauty curse your fatal pow’r. up to the higher parts of the building. Don Carlos is And I must leave you, this is our last farewell. A price is on my head, I have not long to live. Although my bitter tears are flowing, sitting, deep in thought. Rodrigo enters, whispering (Don Carlos is stunned and looks at Rodrigo they cannot wash away my grief! to some officials who withdraw immediately. He without making a move.) Don Carlos My repentance, my terrible anguish sadly looks at Carlos who, aware of a visitor, moves O my Carlos! I’ll go before the King… cannot change what I’ve done or bring relief! slightly. 12 My last day has dawned forever, Beauty I curse you, beauty I curse your fatal pow’r. you and I must now say goodbye; (Two men are seen descending the stairway into My Queen I leave you an innocent victim Rodrigo till that time when God unites us, the courtyard. One of them is an official of the of my jealous passion: my foolish love. 11 I’m here my Carlos. when once more we meet on high! Inquisition, the other holds a firearm. They stop a I shall take the veil in some lonely cloister. In your eyes I see such sorrow; moment to discuss Don Carlos and Rodrigo who I shall hide away from the world evermore. Don Carlos (extending his hand to him) why these tears, why these silent tears of grief? remain unaware of their presence.) Farewell, farewell! My Queen farewell! Oh, Rodrigo, my only friend, you’ve come to see No, be strong for death is welcome, me here in this my tomb. 70 71 Rodrigo You must live and rule and I must die for you! Philip Chorus of People No, your duty is to Flanders. Ah! Now I die, die contented, for by my death I’ve Who’ll give me back that man? He dies who dares oppose the might of the You must live for our glorious endeavour, saved your life… people! live till you see our dream come true. Ruler of Spain, saviour of Flanders! (The storm-bells are heard.) We strike to kill and have no fear. A new golden age revived with Carlos as King! Carlos farewell, ah, don’t forget! The King himself must beware our fury. Ha! Yes you must live and rule, and I must die for you. Ah! The light is fading. Carlos, your hand, your Chorus He must do as we say! hand. Ha! The alarm! (The man carrying the firearm has taken aim at Ah! Save our Flanders, Carlos, farewell, ah, ah! Eboli (disguised, to Don Carlos) Rodrigo and fires.) Chorus of People Escape! Escape! (Rodrigo dies. Carlos throws himself across his He dies who dares oppose the might of the Don Carlos (terrified) lifeless body. King Philip enters with the Count of people! Philip (to the people) God! A shot! Are you hurt? Lerma, Eboli, and other people of his entourage.) We strike to kill, and have no fear! And whom d’you seek? The King himself must beware our fury. Ah! Rodrigo (mortally wounded) Philip He must do as we say! Chorus of People Oh yes, 16 My son I return you your sword. Don Carlos! (sinking into Carlos’ arms) Count of Lerma the revenge of the King has not been slow to strike Don Carlos (in despair) The mob is in revolt! Philip (pointing to Don Carlos) me. Stand back! For your hand is stained with his And they call for the prince! There he stands! blood! Don Carlos Stand back! We’d sworn to live united as brothers Philip Grand Inquisitor (appearing suddenly) Great God! and he loved me! Unbar that gateway. Sacriligeous rabble! His life he sacrificed dying for me! Rodrigo Chorus (Grandees of Spain) (The people recede before the Grand Inquisitor.) 14 O Carlos, now listen, your mother awaits you Philip God! at San Juste tomorrow, she knows our plan… My fears were all too true! Chorus of People Ah! The light is fading… Philip The Grand Inquisitor! Oh, my Carlos, your hand, give me your hand! Don Carlos Come obey me! I command! 15 Now I die, die contented, for by my death I’ve Now you no longer have a son. Grand Inquisitor saved your life… All my kingdom lies here with him! (A furious crowd is rushing onstage.) On your knees before the King by God elected! Ruler of Spain, saviour of Flanders! On your knees, on your knees. Carlos farewell, ah don’t forget, my friend… (Looking at Rodrigo.) Kneel before him! do not forget.

72 73 Grand Inquisitor and Philip Act IV and that eternal vow lasted only a day. for now your duty calls you, you must live and On your knees! O fair gardens of Spain, so bleak, as dawn forget me. No 15, Scena and Elisabeth’s Aria approaches, (The people fall to their knees.) if Carlos returns to wander through your shadows, Don Carlos 17 [Introduction] may the leaves and the streams, crystal fountains Yes, I want to be strong but when my heart is Chorus of People and flow’rs broken it’s like a living death! O Lord grant us your grace! The Cloister of the Monastery of San Juste (the sing together of love, that love that once was ours! same as Act I). It is night, brightened by moonlight. Farewell, farewell dreams of delight… Elisabeth Philip Elisabeth enters slowly, absorbed in her thoughts. Deceiving hopes, delusions! No, remember Rodrigo. Great God glory to Thee! She approaches the tomb of Charles V and kneels in Every bond is destroyed. Was it for foolish dreams that he sacrificed his life? front of it. Every bond has been broken that ties me to life! Chorus of People Farewell, farewell, my youth, my love! Don Carlos (with enthusiasm) Grant us your grace! Elisabeth Overwhelmed with despair, my heart has one In his fair land of Flanders I’ll raise a tomb to him, 18 You, who spurned and renounced all the world desire: the peace of the tomb! the like of which no king has ever seen before, Count of Lerma and its splendour, You, who spurned and renounced all the world where his mem’ry shall live. Long live the King! Long live the King! you who found in the tomb deep repose, sweet and its splendour, and tender. you who found in the tomb deep repose, sweet Elisabeth Philip and Grand Inquisitor If there are tears in paradise, tears for a heart that’s and tender. The flowers will bloom in paradise to bring him Great God glory to Thee! broken, If there are tears in paradise, tears from a heart joy and comfort! ah, bear these tears, carry my tears of sorrow to that’s broken. Chorus (Grandees of Spain) mighty God. Ah, bear these tears, carry my tears of sorrow to Don Carlos Long live the King! Ah, bear these tears, ah, carry my tears of grief to mighty God. I was lost in a dream, it fled… mighty God. O noble Emperor, ah if there are tears to God, now by the sombre light of day I see the flames Chorus of People Carlos will be here! Yes! He must leave me and carry my tears to God. destroying all the land, Lord ah, Lord! forget me… the rivers red with blood, and the fields laid waste, I swore to Posa I would help him and save him. No 16, Scena, Duet and Finale a people in despair who raise their hands to (The Grand Inquisitor descends towards Philip, who His path he must pursue, fame and glory await. Carlos, goes towards him among the kneeling crowd.) As for me, my task is over. My life is at an end! Don Carlos (entering) looking to me to help and save them from 19 France, my noble land, so dear to me in childhood! 20 She’s there! destruction. Fontainebleau! My heart o’erflows when I recall you. And there I mean to go to free them though I live It was there that God received our vows of lasting Elisabeth or die, love, One word, just one; it’s time to say farewell, and you’ll rejoice in my vict’ry or weep for my death. you must leave; 74 75 Elisabeth (exaltedly) Don Carlos we’ll forget those words of weakness, words that Grand Inquisitor (to the officials of the Inquisition, Ah you speak as a hero and sacred flames inspire And my death will be worthy! tell of earthly love, pointing to Don Carlos) you And only yesterday I swore no earthly pow’r we’ll forget all those words that we murmured Guards! and love worthy of us, yes love that is pure and could tear your hand from mine when once I held together. true! it fast. Don Carlos Love that can change men to gods! But duty now has triumphed over tender Don Carlos God will avenge my death! Ah! You must not delay, go, ah! weakness; Farewell my mother! These laws you wrote in blood by His hand shall Go, take up the cross and save those men who call the vision of glory shines to fill my heart with be destroyed! for you! courage. Elisabeth And see Elisabeth! I hold you in my arms. My son, farewell! (Don Carlos, fending off the officials, retreats to the Don Carlos Hold you and fell no falt’ring, yes I am free at last! tomb of Charles V. The Friar appears recognisable Yes in your voice I hear all the people of Flanders Now that all’s at an end, and my hand draws away Don Carlos as the former emperor Charles V, wearing his regalia call. from yours… Now we must part! and crown.) you are weeping? Elisabeth Elisabeth An Old Monk Go save the people! Elisabeth Yes we must part! My son though the griefs that assail you Yes, tears of admiration. still must be endured in this place, Don Carlos These tears are tears of courage, tears that show Elisabeth and Don Carlos the peace that your heart so yearns for Ah! If I die for them, then my blood is not shed noble grief, Farewell! Farewell forever! For evermore! will be found at the throne of grace! in vain! tears that all women shed when heroes must say farewell! Philip (taking the Queen by the arm) Grand Inquisitor Elisabeth 22 Yes, for ever! A double sacrifice is needed! That’s the Emperor’s voice! Go! Go you must not delay! Elisabeth and Don Carlos I’ve accomplished my task. 21 We shall meet not in this world but where life has (to the Grand Inquisitor) Chorus of Monks Don Carlos no ending, And you? It’s Charles the Fifth! Yes my blood is not shed in vain! far from this earthly strife where lasting peace enfolds us; Grand Inquisitor Philip (terrified) Elisabeth yes, there we’ll meet again in the peace of the The Holy church will do her part! My father! Go, take up your cross to save those men who call Lord, for you! in that eternal calm, which all men yearn to find! Elisabeth Elisabeth In this solemn hour of parting we forget our vows God! O God! of passion, (Charles V pulls Don Carlos into the cloister.) 76 77 On session: Sarah Tynan, Martin Fitzpatrick (assistant conductor) and Anne Marie Gibbons © Arena Pal © Arena Pal © Arena

Jane Dutton as Eboli in Opera North,s 2009 production of Don Carlos Janice Watson as Elisabeth de Valois and Julian Gavin as Don Carlos in Opera North,s 2009 production of Don Carlos 79 On session: Richard Farnes © Arena Pal © Arena © Bill Cooper

The Auto da Fé from Opera North,s 2009 production ofDon Carlos 80 81 John Tomlinson as the Inquisitor in The Royal Opera's production ofDon Carlo ???????

Vocal and language consultant: Ludmilla Andrew Staging director: Charles Kilpatrick Music librarian: Victoria Bellis Picture research: Helen Anderson Translation research: Henrietta Bredin

Executive producer Brian Couzens Producer Brian Pidgeon Sound engineer Ralph Couzens

© Catherine Ashmore © Catherine Assistant engineer and editor Jonathan Cooper Operas administrator Sue Shortridge Recording venue Leeds Town Hall; 26 –30 May 2009 Front Photograph from Opera North,s 2009 production of Don Carlos by Clive Barda ©Arena Pal Back cover Photo of Richard Farnes by Bill Cooper Design and typesetting Cassidy Rayne Creative Booklet editor Kara Reed P 2009 Chandos Records Ltd C 2009 Chandos Records Ltd

82 83 Giuseppe Verdi: D on Carlos SOLOIS T S CHANDOS DIGITAL 3-disc set CHAN 3162(3)

Printed in the EU Public Domian LC 7038 DDD TT 167:29

Recorded in 24-bit/96kHz / O pera N or t h/

Opera in four acts R i c hard Farnes Libretto by Joseph Méry and Camille du Locle, after Schiller English translation by Andrew Porter

Philip II, King of Spain Alastair Miles bass Don Carlos, Infante of Spain Julian Gavin tenor Rodrigo, Marquis of Posa William Dazeley baritone The Grand Inquisitor John Tomlinson bass Elisabeth de Valois, Philip’s Queen Janice Watson soprano Princess of Eboli Jane Dutton mezzo-soprano Thibault, Elisabeth de Valois’ page Julia Sporsén soprano An old Monk Clive Bayley bass

C HAN 3162(3) CHANDOS Chorus of Opera North Orchestra of Opera North Richard Farnes

p 2009 Chandos Records Ltd c 2009 Chandos Records Ltd Chandos Records Ltd • Colchester • Essex • England