The Opera National de Paris at the Bastille venue, is presenting the Verdi masterpiece Don Carlo which opens February 11 and runs to March 14, most of which is sold out. No surprise there when one considers the cast; Giacomo Prestia King Philipp II.Stefano Secco Don Carlo, Ludovic Tézier Rodrigo, marchese di Posa, Victor Von Halem Il Grande Inquisitore,Balint Szabo Un Frate, Sondra Radvanovsky Elisabetta di Valois, Luciana D’Intino La Principessa Eboli, Jason Bridges Il Conte di Lerma. COMMANDOpera recognises Don Carlo is a great work for artists of every vocal range, offering great airs and duets throughout. This Don Carlo will be under the baton of Mr. Carlo Rizzi, and directed by Mr. Graham Vick…. as if there was any requirement for further important names. The Opera National de Paris does not skimp.

Here is the plot for those who are unaware:

ACT I. In the royal forest of Fontainebleau, woodcutters and their families gather around a bonfire, lamenting the winter and the war with Spain that have reduced them to poverty and misery. A hunting party from the palace arrives, including Princess Elisabeth of Valois, daughter of the King of France. She asks the people to have courage; she promises that a peace treaty is being signed and that conditions will improve. She leaves with the hunting party. Don Carlo, the Crown Prince of Spain, emerges from the forest into the now empty clearing. He has caught a glimpse of Elisabeth, his betrothed, and loves her on sight (“Io la vidi”). Elisabeth and her page Tebaldo appear, lost and separated from the other hunters. Don Carlo salutes her and offers his protection. She sends Tebaldo away. Revealing his love, Don Carlo gives her a miniature portrait of himself, and she realizes that the stranger is her promised groom. They briefly rejoice over their love, which will bring peace to Europe. A cannon shot is heard, signaling the signing of the treaty. Tebaldo returns with a party of courtiers, saluting Elisabeth as Queen of Spain, bride of King Philip II. Elisabeth corrects Tebaldo, saying that she is to marry the Crown Prince, not the King. But the page insists that the treaty specifies otherwise, pending Elisabeth’s acceptance of the offer. Urged by the starving people to end their suffering, Elisabeth reluctantly accepts, and she and Don Carlo mourn their doomed love while the people rejoice over the end of the war.

From the same production last year which included Mr. Secco as Don Carlo.

ACT II. Scene 1. At the monastery of St. Just in Spain, Don Carlo prays at the tomb of the Emperor Charles V, his grandfather and King Philip’s father. From the shadows of the cloister, a mysterious monk warns of the vanities of the world. Don Carlo thinks the voice is that of the Emperor, and indeed some say the Emperor’s ghost wanders this place. Don Carlo meets his friend Rodrigo, Marquis of Posa, newly returned from Flanders, where the people suffer under Spanish domination. When Don Carlo admits he is still in love with Elisabeth, Rodrigo urges him to fight for the Flemish cause (“Dio, che nell’alma infondere amor”). The two men pledge friendship to the death as King Philip and Queen Elisabeth pass to pray at the emperor’s tomb.

Scene 2.In a neighboring garden, Princess Eboli, the Countess of Aremberg, and the other ladies of the court entertain themselves. Eboli sings a Moorish song accompanied by Tebaldo (“Nei giardin”). The queen returns from the monastery and Rodrigo enters to give her a secret letter from Don Carlo, asking for a meeting. Elisabeth agrees to receive him, and Don Carlo is shown in as the ladies and Posa withdraw. Don Carlo asks the queen to obtain Philip’s permission for him to go to Flanders and then suddenly declares his continuing love (“Perduto ben”). Elisabeth breaks free of Don Carlo’s embrace and he runs away. The King enters the garden with his suite and, finding the queen unattended, banishes the Countess of Aremberg, who should have been present. Elisabeth consoles the banished countess (“Non pianger, mia compagna”), and she and the ladies leave. The king orders Rodrigo to remain when the others depart, and Rodrigo bravely denounces the situation of Spanish oppression in Flanders (“O signor, di Fiandra arrivo”). Philip, impressed by Posa’s idealism, chooses him as a royal advisor, and confides that he needs someone to watch over Don Carlo and Elisabeth, whom he suspects of betrayal. Rodrigo accepts the royal confidence, and Philip warns him to beware the Grand Inquisitor.

From the same production last year which included Mr. Secco as Don Carlo.

ACT III. Scene 1. Eboli, who mistakenly believes that Don Carlo loves her, has written a letter to him asking him to meet her secretly. Thinking the note is from the queen, Don Carlo awaits her arrival in the palace gardens. When Eboli enters, heavily veiled, Don Carlo declares his love, but when she unveils, both realize their mistake. Eboli accuses Don Carlo of loving the queen. Rodrigo comes upon them, and, grasping the situation, tries to placate Eboli (“Al mio furor sfuggite”). She runs from the garden swearing to expose Don Carlo and Elisabeth (“Trema per te”). To protect the prince, Rodrigo takes his incriminating papers.

Scene 2. In the plaza before the Cathedral of Our Lady of Atocha in Madrid, an immense crowd waits for King Philip and an auto-da-fé, a burning of heretics. Philip emerges from the cathedral with the queen and is greeted by six Flemish deputies, led by Don Carlo. They are joined by the court and the people in begging for the king’s mercy for the rebellious province, but friars insist on severe punishment (“Sire, no, l’ora estrema”). Don Carlo draws his sword on his father, who orders him disarmed. Don Carlo surrenders his sword to Rodrigo and is arrested for treason while Posa is made a duke on the spot. A group of heretics is led to the stake, and a celestial voice welcomes their souls into heaven.

ACT IV. Scene 1. Philip spends a sleepless night in his study, reflecting on affairs of state and on his inability to make his wife love him (“Ella giammai m’amò”). He consults with the Grand Inquisitor, who upbraids the king for allowing heretical ideas to creep into Spain (“Nell’ispano suol mai l’eresia”). The Inquisitor consents to the death sentence for Don Carlo and insists Posa be handed over to the Inquisition as well. As the ancient priest leaves, Philip wonders if the throne must always yield before the altar. Elisabeth bursts in, crying that her jewel box has been stolen. Philip hands it to her and demands she open it. When she hesitates, he breaks it open and finds the portrait of Don Carlo. He accuses her of adultery. The queen faints, and Philip calls for aid. Eboli and Posa rush in, Rodrigo expressing amazement that this king who rules half the world cannot govern his own emotions. Posa realizes that it is time to sacrifice himself for Don Carlo and the good of the nation (“Ah! sii maledetto”). After the men have left, Eboli confesses that it was she who stole Elisabeth’s jewel case, out of jealousy over Don Carlo, and gave it to the King. She then admits that she has been the King’s mistress. Elisabeth banishes Eboli from Spain. The princess laments her fatal beauty and swears to spend her final day in Spain trying to save Don Carlo (“O don fatale”).

Scene 2. In Don Carlo’s prison, Rodrigo says goodbye to his friend (“Per me giunto”) and tells him that Elisabeth will meet him one last time at St. Just. When a shot rings out, Rodrigo falls, mortally wounded. As he dies he urges Don Carlo to save Flanders and be a new light for Spain (“Io morrò”). Philip enters and returns Don Carlo’s sword, but Don Carlo accuses him of Posa’s murder. The citizens storm the prison demanding Don Carlo’s release, and the disguised Eboli urges him to flee. The Grand Inquisitor appears and commands the rebellious crowd to kneel in obedience before Philip.

ACT V. At the monastery of St. Just, Elisabeth waits for Don Carlo and prays at the Emperor’s tomb (“Tu che le vanità”). Don Carlo enters and she inspires him to continue Rodrigo’s quest for freedom in Flanders. They vow that their love will be rewarded in heaven, but Philip interrupts them, accompanied by agents of the Inquisition. Philip and the Inquisitor think they hear the voice of the dead Emperor, and the mysterious monk opens a gate and draws Don Carlo into the protective shadows of the cloister.