iia Hah Ht st | see, AUT4 ACT I The monastery of San Yuste* Itis dawn. A monk is Praying at the tomb of Charles V (grandfather of Carlo). Carlo appears, deprossed* and forlorn, trembling atthe voice ofthe Monk, who reminds him of his grandfather frhatles V. Rodrigo, the Marquis of Posa enters, and sesing his close friend Carlo visibly upset he then tries to win him over to champion the cause of freedom for Flanders, then an oppressed colony under the tyrannical yoke of the Spanish Crown. He notices Carlos despondency and Bibresses shock when Carlo confesses to him that he is hopelessly in love with his stop-mother. Rodrigo's efforts to dissuade Carlo fall on deaf ears, especially when a moment later, Elizabeth Passes through the monastery hall on the arm of his father and rival, King Phillip Il. Rodrigo and Carlo swear eternal friendship to each other A garden outside the monastery In the garden the ladies of the court are awaiting the appearance of their Queen, Princess Eboli entertains the assembled with a Moorish song. When Elizabeth finally arrivos, Rodrigo is announced and giving her a letter from her mother also slips her a note from Carlo who desperately wishes to see her. She reads the note while Rodrigo promenades with Eboli and discusses the latest doings in Paris. Elizabeth is then told by Rodrigo that Carlo desperately Wishes her to intercede on his behalf in obtaining an audionce with his own father. Eboli, incidentally, mistakes Carlo's agitation of late for undeclared passion by Carlo for herself, Elizabeth manages to inform Rodrigo that she will see her step-son, and the ladies retire. Carlo enters and formally greets his step-mother, asking her to use her influence to have the King send him to Flanders. He cannot contain himself much longer, and the formality disappears, as he ardently confesses his love for her and reproaches her for her seeming aloofness and indifference. She coldly replies that it is her duty to her King and husband, despite the fact that she is obviously in love with Carlo. Carlo soon falls senseless at her fost (the only allusion in the libretto to the epileptic fits that troubled the real Carlo), For a moment Elizabeth thinks he is dying but he revives and in his delirium once ‘again professes his love for her. As he tries to embrace her she tears herself away, asking him whether he wishes to murder his own father and then lead her to the altar. With a cry of despair Carlo rushes from her presence, while Elizabeth asks heaven for strength in her vexing predicament. King Phillip enters, and outraged at finding his Queen unattended, dismisses the Countess D'Aremberg, a friend of Elizabeth and responsible for attending her. A dialogue between Rodrigo and the King follows in which the former expresses his indignation at the conditions in Flanders under the oppressive Spanish rule. The King is impressed by the proud young soldier's candor and takes him into his confidence, revealing his thoughts about his loveless marriage and his suspicions concerning his son. He opens his heart to the man who openly opposes the policies of the Spanish throne with regard to Flanders, but he also warns him in ominous tones about the Grand Inquisitor. stery, in Céceres, was founded in 1402 and comprises, besides the church and the two cloisters, the palace where Charles V spent the last 18 months of his life (1557-1588). 21 is of note that the historical Carlos was an ungainly, hunchbacked, epileptic, addicted to sractically every vice and aberration. He was also slightly insane, a genetic inheritance from his unt, Juana la Loca (Juana the Mad). Schillers hero bears absolutely no resemblance to the historical Carlos!ACT IL ‘The gardens of the Queen Itis midnight. Carlo has received an an fe bi he believes the veiled woman waitine geen etter urging him to come to the garden where An auto-da-fé" is being prepared. The King and Queen are ushored in, and Phillip repeats the ath that he took when he was first crowned, to punish and persecute all enemies of the Faith. Carlo now appears, heading a delegation from Flanders bogging for relief from their harsh eat ad wes ing is outraged at sing his own son loading a rebel group, Corle-drawe hi sword, and when Phillip demands that Carlo be disarmed, it is Rodrigo who comes forth and ACTIV King Phillip’s room Phillip is alone in his room. It is almost dawn and he muses about his loveless marriage and bis suspicions about his son. The Grand Inquisitor is announced, ‘The blind nonageserion Priest is led in and asks the king what he wishes of him. Phillip describes how Carlo hee telan up the side of Flanders end tells the Inquisitor that he is willing to have his son killed, If ka indeed employs such extreme measures, will the Church absolve him? ‘The old man replies that God himself did not hesitate in giving up His son so that the world might be saved. The king's matter having been settled, it is now the Inquisitor's turn to speak. The fault of Carlo is nothing compared to what Rodrigo, Marquis of Psa has perpetrated, and asks the king to hand Posa over to the Inquisition for punishment. The king refuses and the Inquisitor leaves tho room in a fury while Phillip comments sadly that the crown must always yield to the altar, Elizabeth rushes in and bemoans the fact that her jowelry casket has been stolen, To her amazement she sees it on King Phillip's desk. He compels his wife to open the casket which reveals @ picture of Carlo, Seeing his suspicions of adultery confirmed, Phillip harshly admonishes his wife, Elizabeth faints and Princess Eboli and Rodrigo come to her aid. Princess Eboli admits that it was she, out of revenge, who put Carlo's picture in the casket admitting also that she has been Phillip's mistress all the while. Elizabeth gives Eboli two choices as Punishment: exile or life in a convent. —— ee ith”, jame for the common spectacles carried out by the ‘act-of-faith’, the Portuguese name : Spanish Inquisition where so called ‘heretics’ who did not conform to Catholic dogma were either forcibly converted to Catholicism or elso burned at the stake. >6 A prison whore Carlo is a prisoner Rodrigo visits his friend in prison to tell him of his imminent release. In an act of great al negation, Rodrigo, using the papers Carlo had given him, manages to turn the suspicion onto himself. While he is in the prison arranging the release of his friend he is shot in the back by the henchmen of the Inquisition. With his last breath, Rodrigo invokes a free and just Spain. Phillip coming to free his son from prison hears with dismay about his confidant’s murder. A crowd of rebels, Eboli among them, appears at the prison in an effort to free Carlo, but the sudden appearance of the Grand Inquisitor foils their attempt. ACTV The cloisters of the monastery of San Yuste Itis night and Elizabeth is waiting for her stop-son to bid him farewell, and, as the assassinated Rodrigo would have wished, to take up the cause of Flanders and its eventual liberation from Spanish oppression. Carlo and Elizabeth recall their first meeting in Fontainebleau, but Carlo soon turns his attention to his new task in the politics of state. Phillip suddenly appears out of hiding, seizes Elizabeth and demands that the Grand Inquisitor, who has come with him, to hand Carlo over to the Inquisition, but a monk emerges from the cloister. They are stunned with terror as the monk drags Carlo with him into the recesses of the holy sanctuary. As the monk speaks, the assembled hear in him the voice of Charles V himself,Don Carlo, Act I 7 ACTI The forest of Fontainebleau in France: {His wifter ond the royal palace is visible in tho distance. ‘To the side there is a shelter formed by a large rock. Woodsmen ir wi i A already felled while others cross wit aed as cy and children are busy cutting oak logs WOODSMEN AND THEIR WIVES Jinyverno e ‘lungo ta vita i © ‘dua il mee karo Linverno 8 lungo! La vita 8 dura! 11 rane a caro! The winter is long! Life is hard! The bread is expensive! ‘mai pj finira ‘us ‘delo oi ; i Ph “a : imjvemm9 amar Mai pid. finira ltuo gelo, © — invemo amaro! Never willend your frost, ch winter bitter! aime temminera la gwerra i rivedremo ‘mai Abima, terminera la guorra? Li rivedremo mai? Alas, willitend, the — war? Will we seen them again ever? rive'dremo, Titornare i “AK nostri ‘ai kazsilari Rivedremo titomar =i fighi nostri ai casolari Will we see again return the sons ours totheir homes e i ‘kampi a’ati maturar ei campi arati maturar? end the fields ploughed ripen? (and will we see the ploughed fields ripen?) kwi ‘di fred:do © fame ‘si mwore Qui di froddo ° fame si muore Here of cold and hunger one dies © dual pjano il fume gjatafo e gid. al piano il ~—_fiume ghiaccia. end down atthe plain the river froze over. detlimvems il ‘gran rigore ‘lakkwe dela. “i fontene’blo Dellinverno il gran rigore Tacque geld di Fontainebleau! Ofthe winter the great rigor the waters froze of | Fontainebleau!® (The rigors of winter froze the waters of Fontainebleau forest.) “Those were the protracted wars between France and Spain, begun under the previous reigns of Charles V and Francis | of France, a war that would at last be terminated with the alliance between the two countries (Treaty of Céteau Cambrésis, April 3, 1559)through the marriage of the French Princess Elizabeth of Valois and the Spanish King Phillip I. “The name of Fontainebleau is rendered in its Italian pronunciation as [fontene’blo]. When I do the French Don Carlos version, the name will be rendered in its proper French phonetics as {fotensblo} | ~ Por lo spoon iil facciamoci _coraggio! res, our children let us take courage! lerpatfe 8 wold ‘ei 'di_miéKori Lapeco 4 nak ridonard doi di miglori. ce to us will bring again di . (Peace will bring us better days.) 2 WOODSMEN AND THEIR WIVES dei‘ mikgori wudei di ——-migliori. days better. WOODSMEN senitite ‘la la ‘romba ‘kjama_ risponde il ‘koro Sentite La tromba —chiama!_—Risponde—il_—como! Do you hear there? The trumpet calls! Answers the hom! la kote a ‘della ‘kattfa ‘te sata La corte a Della cacci re sara! The court to hunt. willcome! Of the hunt the king _ will be! (The court will come to hunt and the King will be part of the hunting perty!) ‘THE HUNTERS (from far off) ‘su kattfator pron ola belva fi sfudsira Su, cacciator, —_pronti 0 la_belva ci sfuggiral Come, hunters, quickly or_-— the beast will escape us! noi la'vrem alla selva ‘notte vera noi Tavrem —pria_ calla selva notte veri. Fd wo willlhave it before that in the woods night will come {and we will have the beast beforo night fall in the forest) WOODSMEN / ‘il 'swon ‘dei ‘korni sav:vitfina: si suon del comi_ s'avvicina The sound of the hors is approaching ae ‘gid ‘dopmi ne ki plu di tor elif aa ee dlogni bars Chi pit di lor felico a Echegsien — houts from every side. tho more thon they happy is? than they are?) {Shouts are hoard from all sides. Who is happia la ‘sone ‘dei Te la sorte dei re! the lot of kings! fortunala © Fortunata = @ Fortunate isDon Carlo, Act 1 abeth de Valois appears mounted on a horso, lod by her page Tobaldo and outriders.) (eli WOODSMEN AND THEIR WIVES ela “Tikka ‘del re presto a Ela figlia dol ret Presto, appressiamo a She's the daughter of the king! Quickly, _let us go near to none ‘mens ‘bwona ‘ke ‘bella ‘la nobile elizabetita Non @ mono buona che — bella! La —_nobilo Elisabetta... Shoisn't less kind than lovely! The noble Elizabeth... (Sho is as lovely as she is kind! The noblo Elizabeth...) ELISABETTA (stopping hor horse amid the woodsmon) amitfi ke ‘mi kje'dete Amici, che mi chiedote? Friends, what do you ask of mo? THE WOMEN (leading a woman in mourning before Elizabeth) noi ‘non ‘vi supsplitkjam ‘per ‘noi ‘ma sokko'rrete ‘la mizerja Noi non vi supplichiam per noi, ma soccorrete 1a miseria We don't plead to you for ourselves, but help the misery di -kwsesta vedova ikui ‘due ticki di quosta vedova icui due figli of this widow whose two sons kjamati n(gwerrra peril te a ‘non tornarono pj chiamati in guerra peril re, ah! non tomarono _ pid! called to war bythe king, ah! didn't return ever again! ELISABETTA (to the poor woman) atifetta ‘bwona ‘madre ‘kwesta katena ‘dor Accetta, buona madre, questa catena dior... Accept, good mother, this chain of gold. (To the woodsmen.) © Voi tutti sperrate ‘bem ‘presto ‘kwesta E voi tutti, sperate! Ben presto questa guerra, And you all, have hope! Very soon this war ei bei di per ‘nol verrranmo — agora Dei bei di per noi_verranno ancora Some lovely days for us willcomo —_yot ‘resis Tre en'riko mio ‘padre Presso re Enrico, mio padre To king Henry? my — father a “Elizabeth is referring to her father, Henry Il of France. ae10 Don Carlo, Act 1 um mess re ‘di ‘spaypa imjyjo kon ‘la patfe ormai un messo il re di_— Spagna invi, Con la pace ormai a messenger the king of Spain sent, With peace now se dio vorra tomera la serenita se Dio —_vorra, tormera Ja serenita! if God _ wills it, will return the calm! (A messenger was sent by the king of Spain to my father Henry. Calm shall return once ‘again when peace is achieved, if God wills it!) WOODSMEN AND THEIR WIVES © sippora ke ‘dio ‘vi ‘dor led:dsend —_imjfondo ‘kor Osignora, che Dio vi doni leggendo in fondo —ai nostri. -—_cor, Ohledy, may God giveyou, as Heroads in the depths of our hearts, un ‘dsovin ‘spaza © la —_-ko'rona © dum ‘popals—lamor un giovin sposo ela corona e d'un popolo amor! a young husband andthe crown, and of apeople the love! pate a noi ridane'ra dei ‘di miffor Lapaco a ~—noi_ridonera dei di miglior. Poace to us will giveagain days better [Elizabeth smiles and waves good-by to the woodsmen and their wives, as she takes up her rido again with her followers to the sound of trumpet fanfares. At this moment, Don Carlo appears and hides behind a tree.) HUNTERS (from far away) Su, cacciator, pronti, o la belva ci sfuggira, etc. WOODSMEN AND THEIR WIVES La pace a noi ridonera, etc. (The woodsmen watch Elizabeth as she leaves, then they gather up their work implements and go off disappearing in the background. Don Carlo enters alone.) CARLO fontenc’blo foresta immensa € ——_solitarja Fontainebleau,’ _foresta immensa ¢ —_solitari Fontainebleau, forest immense and _ solitary! ai dyardin wai rozai kwaleden di splendore Quai gierdin, quai rosai, qual Eden di splendore What gardens, whet rose gardens, what Eden of —_ splendor *This scene in the forest of Fontainebleau is mere operatic invention. Histo nowhere near this forest at the time. nmDon Carlo, Act I u ‘per ‘donkarla Potra ‘kwesty ‘bosko vail Per oe Gate Poti questo po, ler for DonCarlo can this wood compare to ‘ove wabella sua sontdente " ove Isabella’ sua somidents oopent whore Ezaboth his’ Soe ae (where his Elizabeth (Isabella) appeared smiling at him!) laffai ‘la ‘Korte laffai Lasciai la corte lasciai left the court 1 left ‘di Sfidandy i) tremendo furore di Gidando il tremendo—_furoro, of defying his terrible fury, konjfuzo ‘nel korte ‘del ‘ted39_ambaffador confuso nel corteo del regio ambasciador; tmpoticed in the procession of the royal ambassador; potei mitarla alfin ‘la ella fidantsata potei mirarla alfin, Ta balla Iwas able to behold her at last, my lovely betrothed! kolei ‘ke ‘vidi ‘pria re’ppar su‘:lalma ‘mi colei che vidi pra regnar sull'alma she whom Isaw first reign over the soul ming, kolei ‘ke per lamor repnera = ‘sul aio ‘tor colei che per amor regneri sul. mio con She who for love will reign over my heart, iota vidi e'al'suo ——so'rtizo finiitter mi parve Tolavidi ealsuo _sorriso scintillar mi parve Teawher andather smile sparkle seemed to me {I saw her smile and the sun seemed to sparkle;) ‘kome ‘alma ‘al Ppara‘dizo ‘skjuze allei ‘la ‘speme ‘il vol onsale al paradiso —schiuse ~—alei_ la spome, _il vol, As thesoul to_—paradise ~— opened toher the hope, the flight. (As the soul soars to paradise, so my hopes flew to her.) t tmett 4 inebrja ‘kwesto, ‘kor tanta ‘dsoja_ ame prometto ke _—_sinebrja Tanta sivia ame prometto che _sinobria questo cor; Somuch joy tome promised that _intoxicates itself this. heart; (My heart is intoxicated by all the promise of joy:) a 7 “The Fre ss i etta, However, several times during this opera Carlo refers to hers Iebull whic io cats fon of the name for Elizabeth in Italian. ‘The Spanish form is s Isabolla, whic! Isabel. aDon Garlo, Act I The day is over. 12 “ ‘un {mor ‘dio sorsidi ‘al ‘nostra a'fifetto beneddi ‘uy ‘kasto = Dio, somnidi al nostro affetto, benedici un casto. = amor. God, smile down upon our — love, bless achaste _love. (He runs in the direction that Elizabeth took but then, uncertain, stops. A horn is heard from ofar-) I ‘swon ‘del ‘komo afin ‘nel ‘basko tatfe Tl suon del cormo alfin nel _—_bosco tace. ‘The sound of the horn at last in the wood is silent. ‘nom ‘piu ‘dei_—siKatstfator © eked:dsano. i Kla‘mor Non pia del_—cacciator-—echaggiano i= clamor. No longer of the hunters resound =the _—callls (He listons.) ‘tatfe oppun ela ‘stella. primjera I! Tace ognun e la __ stella primiora _scintillla Everyone is silent and the star first twinkles ‘nel lontan ‘spattsjo ad:dzursrin nel —_lontan spazio azzurrin. in the far off space sky blue. (Daylight is over and all is quiet. The first star twinkles in the far off clear blue space.) ‘kome ‘del ‘'reds9 ostel__rimyve'nire kam:min Come del regio ostel_rinvenire il cammin? How of the royal abode find back the way? (How shall I find my way back to the palace?) ‘kwesta ‘selva ‘tanto ‘nera Questa selva & tanto nera! This forest is so dark! ‘TEBALDO (from off stage) ola skudjer ola ‘del re Ola! scudie! OI paggi del Re! Ho there! squires! Ho there!_-—_pages of the king! CARLO ‘kwal‘votfe riswono nel:loskura —foresta Qual voce risuond ——_nell'oscura__foresta? What voice resounded in the dark forest? ‘TEBALDO ola venite amme olat venite, ame! Ho there! come, woodsmen, here to me! (Tebaldo and Elizabeth come down a path.)