About the Production
At the center of the events, which take place in the second half of the 16th century, is the Spanish crown prince Carlos.
He is madly in love with Elisabeth of Valois, who has been destined to be his wife since childhood, before his widowed father King Philip II claims her for himself. This private conflict is exacerbated by a political one: Carlos' demand for the regency of the rebellious Dutch provinces - a fatal situation against the backdrop of the Inquisition trials and the power of the Grand Inquisitor.
Don Carlos
Storyline
In the forest of Fontainebleau, woodcutters lament the hardship caused by years of war between Spain and France.
Elisabeth, the daughter of the French king, tries to alleviate the plight of the poor. She reports that the peace negotiations are about to be concluded. Everyone knows that the peace is to be sealed by her marriage to the heir to the Spanish throne, Don Carlos.
Carlos has secretly traveled to France, where he met and fell in love with Elisabeth. The two meet in the forest in the evening and relive in advance the happiness of their future life together. Then comes the news that Elisabeth is not to be married to Don Carlos, but to his father, Philip II. In the face of the suffering people, Elisabeth realizes her responsibility and agrees to the marriage that will destroy her happiness.
In the Spanish monastery of San Yuste, where the abdicated Emperor Charles V is supposedly buried, Carlos seeks peace, but he cannot forget Elisabeth.
A mysterious monk seems to offer him comfort. Carlos thinks he recognizes him as the emperor he thought was dead. The Marquis of Posa tries to win Carlos over to his grand idea: the liberation of Flanders from Spanish oppression. But Carlos is unresponsive. He confesses his hopeless love for Elisabeth to Posa.
The ladies-in-waiting await the queen outside the monastery. Posa brings Elisabeth a letter from her mother in Paris and takes the opportunity to slip her a letter from Carlos. In it, Posa is recommended as completely trustworthy. Posa tells Elisabeth about the mysterious sadness in which Carlos is living and asks her to grant her stepson an audience. Eboli hopes that Carlos' restlessness is due to the fact that he secretly loves her, just as she loves him, and that he now wants to tell Elisabeth about this love. Carlos asks Elisabeth to intercede for him with his father so that he can go to Flanders. Both try to control themselves, but are soon overwhelmed by their feelings. Only with extreme strength does Elisabeth finally manage to tear herself from Carlos' arms and end the encounter. The king finds the queen unaccompanied, which is contrary to the rules of the court. He banishes the lady-in-waiting from Spain.
The witnesses to the incident retreat, only Posa is stopped by Philip. He is puzzled by the fact that this man has never asked for a personal interview. He offers to show him a special favor. Posa takes the opportunity to describe the horrors of Spanish rule in Flanders to the king. Philip is impressed by the man's courage. He confides in him that he suspects Elisabeth of cheating on him with Carlos and asks Posa to keep an eye on the two of them. Posa is beside himself with joy at this vote of confidence and sees the fulfillment of his political dream within reach. Philip warns him about the Inquisition.
A grand masked ball is held in the queen's gardens. Elisabeth swaps her mask with Eboli so that she can retire unnoticed. Eboli, queen for one night, sends Carlos an invitation to a midnight rendezvous.
Carlos believes that Elisabeth has written to him. Too late, he realizes his fatal mistake. Eboli realizes that Carlos loves his father's wife and is in love with her again. Posa wants to kill the princess to prevent her from revealing the secret. But then a saving thought occurs to him and he renounces the senseless murder. Eboli rushes off in a rage and Posa asks Carlos to hand over all the important papers that could compromise him.
A huge celebration is taking place in a square in Madrid: a public burning of heretics. The festive atmosphere is severely dampened when Carlos emerges with a group of Flemish deputies who beg the king for peace for their homeland. When Philip stubbornly rejects this agreement, Carlos asks him to be appointed governor of Brabant and Flanders. Philip refuses and provokes his son so much that he takes up arms against the king. Nobody dares to disarm him, who is furious with rage, until Posa intervenes.
The king appoints the marquis as duke and Carlos is arrested.
The thought of Elisabeth's possible infidelity and the feeling of his hopeless loneliness rob the king of sleep. He has summoned the Grand Inquisitor because he needs his advice in his conflict with Carlos.
The Grand Inquisitor promises him absolution if Philip has his son executed. However, he actually came to Philip for a much more serious reason. He demands that Posa be handed over to the Inquisition. When Philip refuses to betray his only friend, the Grand Inquisitor makes it clear to him who has the power in the state.
Elisabeth complains about the theft of a casket in which she keeps her most personal belongings. Philip opens the box that has been brought to him. He asks her what the portrait of the Infante lying among her jewelry is all about. Her defense sends him into such a blind rage that he knocks the alleged adulteress to the ground. Eboli takes care of the collapsed woman and Posa reproaches the king, who regrets his unjustified suspicions.
Eboli remains alone with Elisabeth and confesses to her that she stole the casket out of jealousy. As she has acted out of disappointed love, Elisabeth forgives her. However, when Eboli confesses to having an affair with the king, Elisabeth leaves the room in silence. Eboli is faced with the choice between a convent and banishment. She collapses in despair, but the thought of Carlos gives her new strength. She wants to save his life.
Posa visits Carlos in prison and promises him his imminent freedom. He has arranged it so that Carlos' incriminating papers have been found in his possession, so that the king now believes him, Posa, to be the rebel. A shot is fired and Posa is fatally wounded. With the last of his strength, he urges Carlos to put their shared vision of a free Flanders into practice.
Philip wants to release his son from prison, but is forced to learn the true circumstances from him. Father and son mourn the death of their only friend together.
A storm bell sounds. Eboli has incited the people to revolt in order to free Carlos from prison. They manage to escape at the last minute before the appearance of the Grand Inquisitor puts an abrupt end to the crowd's uproar.
Elisabeth and Carlos say goodbye to each other forever. All that remains for them is the hope of a reunion in a better world.
Philip hands his son over to the Inquisition. The mysterious monk intervenes and removes Carlos and Elisabeth from earthly jurisdiction. Everyone recognizes him as the emperor they thought was dead.
In his production, director Peter Konwitschny spun a web of relationships of breathtaking density between the characters. Initially rejected by parts of the audience, the production soon achieved cult status and is now greeted with great euphoria every time it is revived. He also created a humorous pantomime interlude to Verdi's great ballet music in the third act, which heightens the tragedy's impact. For Konwitschny, there is a particular focus on the utopian moment that Verdi shows with the salvation of Carlos and Elisabeth at the end of the opera. For the director, the ending is therefore not a realistic retelling, but a kind of veto by the composer against the victory of the authorities who are hostile to love and life.
With Don Carlos, Verdi made a significant contribution to the genre of French grand opéra. Various difficulties during rehearsals meant that the composer had to make numerous cuts against his will before the work was premiered in 1867. The production at the Vienna State Opera presents the reconstructed original version, which also includes the passages that Verdi had to cut in 1867. The special attraction of this version is its stylistic unity and the extremely precise psychological development of the characters.
Verdi had to contend with two very mundane issues when composing Don Carlos: the Parisian suburban train and the audience's habits of eating after dinner. Performances were not allowed to start too early, as the audience wanted to eat their dinner comfortably and not in a hurry before going to the opera. At the same time, a performance was not allowed to last longer than the departure of the last train bringing visitors back from the suburbs. Wedged between these two fixed points in time, the score therefore had to be severely trimmed a few days before the premiere.
