Don Carlo

Giuseppe Verdi

Opera in four acts
Libretto by François Joseph Pierre Méry and
Camille Du Locle after Friedrich Schiller
Milan version (1884)

  • Duration :
    3 H. 30 Min. Inkl. Pause after 2nd act after approx. 1 H. 45 Min.
  • Language:
    In Italian with German and English surtitles.
  • More information:
    Introduction 45 min before the performance.

Musical Director:
Petr Popelka

Petr Popelka

Petr Popelka began his conducting career after a tenure as principal double bassist from 2010 to 2019 with the Sächsische Staatskapelle. From 2020 to 2023, he was Chief Conductor of the Norwegian Radio Orchestra in Oslo. Since the 2024/25 season, he has been Chief Conductor of the Vienna Symphony and, until the end of the 2025/26 season, Artistic Director of the Prague Radio Symphony Orchestra. Debuts have taken him, among others, to the Staatskapelle Berlin, the Sächsische Staatskapelle Dresden, the Bamberg Symphony, the Tonhalle-Orchester Zürich, the Swedish Radio Symphony Orchestra, the Danish National Orchestra, and the NHK Symphony Orchestra. He has conducted, among others, "Káťa Kabanová" at the Bavarian State Opera in Munich, "Tristan und Isolde" at the Deutsche Oper Berlin, "The Nose" at the Semperoper Dresden, and Jaromír Weinberger’s "Schwanda" at the Theater an der Wien. At the Berlin State Opera, he conducted "Tosca" and will return for the 2026 Opera Festival and "Rusalka" to the Bavarian State Opera. Significant festival concerts under his direction have been recorded for television, including the Czech Philharmonic’s concert for the Velvet Revolution and the Nobel Prize Concert with the Royal Stockholm Philharmonic Orchestra. As part of the 125th anniversary of the Vienna Symphony, he conducted a celebratory concert with a subsequent tour in the fall of 2025. Current highlights include debuts with the Berlin Philharmonic, the Munich Philharmonic, and the Accademia Nazionale di Santa Cecilia, as well as returns to the Chicago Symphony Orchestra, the Cleveland Orchestra, the Pittsburgh Symphony, and the Gewandhaus Orchestra Leipzig. At the Zurich Opera House, he conducted "Don Giovanni."

Don Carlo1 / 6 / 8 / 11 Jul 2027
Production:
Sven-Eric Bechtolf

Sven-Eric Bechtolf

Sven-Eric Bechtolf is from Darmstadt. After training at the Mozarteum in Salzburg, his engagements as an actor took him to major theatres in Germany and Switzerland, as well as to the Burgtheater in Vienna, where he was a permanent ensemble member until 2006. In 2002 and 2003, he received the Nestroy Theatre Prize as Actor of the Year, and in 2007, the Albin Skoda Ring. In 1993, he began directing for the theatre and was invited to the Theatertreffen in Berlin with his second production, "The Dispute" by Marivaux. This was followed by other significant works, including the "Ring des Nibelung" at the Vienna State Opera and a Mozart/Da Ponte cycle at the Salzburg Festival, where he was elected theatre director in 2012. In 2015 and 2016, he served as Artistic Director of the Festival and received in recognition the Honorary Ring of the City of Salzburg and the Cross of Merit for Culture and Science of the State of Austria. Since autumn of 2016, he has been working as a freelance actor and director again. His projects include, among others, "King Arthur" at the Berlin State Opera with co-director Julian Crouch, as well as "Hänsel und Gretel," "The Egyptian Helen," and "Ernani" at La Scala in Milan, and "L’elisir d’amore" at the Latvian National Opera. In 2024, he returned as an actor in the role of Bassa Selim in "Die Entführung aus dem Serail" at Teatro alla Scala. In 2006, he published the book "Vorabend," a personal engagement with Wagner’s "Ring." At the Zurich Opera House, he has directed "Lulu," "Otello," "Die tote Stadt," "Der Rosenkavalier," "Pelléas et Mélisande," "Don Giovanni," "Le nozze di Figaro," "Così fan tutte," "Salome," "Don Carlo," and "Falstaff."

Don Carlo1 / 6 / 8 / 11 Jul 2027
Set Design:
Rolf Glittenberg

Rolf Glittenberg

Rolf Glittenberg hat an wichtigen Opernhäusern, Theatern und Festivals wie z.B. dem Thalia Theater Hamburg, dem Zürcher Schauspielhaus, dem Wiener Burgtheater, der Wiener Staatsoper, dem Edinburgh Festival, der Nederlandse Opera Amsterdam, der Deutschen Oper Berlin, der Staatsoper Stuttgart und den Salzburger Festspielen gearbeitet. Er hat für Regisseure wie George Tabori, Johannes Schaaf, Dieter Giesing, Claus Peymann, Götz Friedrich, Luc Bondy und Peter Mussbach Bühnenbilder entworfen. Am Opernhaus Zürich entstanden die Bühnenräume für Martin Kusejs Inszenierungen der Opern Elektra, Die Zauberflöte und Genoveva sowie für Sven-Eric Bechtolfs Inszenierungen von Lulu, Otello, Die tote Stadt, Der Rosenkavalier, Pelléas et Mélisande, Don Giovanni, Le nozze di Figaro, Così fan tutte, Salome, Falstaff und Don Carlo. Er zeichnet sich zudem verantwortlich für die Bühne des Ring des Nibelungen und Cardillac mit Franz Welser-Möst und Sven-Eric Bechtolf an der Wiener Staatsoper, Idomeneo mit Nikolaus Harnoncourt als Dirigent und Regisseur bei der Styriarte in Graz und in Zürich, Ariadne auf Naxos mit Daniel Harding und Sven-Eric Bechtolf bei den Salzburger Festspielen sowie Der Stein der Weisen mit Felix Breisach in Winterthur.

Don Carlo1 / 6 / 8 / 11 Jul 2027
Costumes:
Marianne Glittenberg

Marianne Glittenberg

Nach Anfängen gleichermassen im Sprech- und Musiktheater konzentrierte Marianne Glittenberg ihre Arbeit ausschliesslich auf die Oper. Die Zusammenarbeit mit Regisseuren wie Luc Bondy, Jürgen Flimm, George Tabori, Johannes Schaaf, Luca Ronconi und Hans Neuenfels war ihr besonders wichtig. In letzter Zeit ist die intensive Arbeit mit Sven-Eric Bechtolf prägend, mit dem mehrere Arbeiten am Thalia Theater Hamburg, am Burgtheater Wien und an der Deutschen Oper Berlin (Les Contes d’Hoffmann) entstanden. Für die Salzburger Festspiele schuf Marianne Glittenberg für folgende Produktionen die Kostüme: Der Bauer als Millionär, Das Mädel aus der Vorstadt, Die Zauberflöte, Die Frau ohne Schatten, L’incoronazione di Poppea und Don Giovanni. Weitere Opernarbeiten entstanden für die Hamburgische Staatsoper, die Wiener Staatsoper, die Deutsche Oper Berlin, das Opernhaus Zürich (Fidelio, Lulu, Otello, Die tote Stadt, Der Rosenkavalier, Pelléas et Mélisande, Don Giovanni, Le nozze di Figaro, Così fan tutte, Salome, Falstaff, Don Carlo), die Nederlandse Opera Amsterdam und das Théâtre de la Monnaie, Brüssel, in Zusammenarbeit mit Dirigenten wie Sir Georg Solti, Christoph von Dohnányi, Lorin Maazel, Gerd Albrecht, Sylvain Cambreling, Nikolaus Harnoncourt und Franz Welser-Möst. Zudem entwarf sie die Kostüme für Arabella in Wien und Hamburg sowie für Der Ring des Nibelungen und Cardillac in der Regie von Sven-Eric Bechtolf an der Wiener Staatsoper.

Don Carlo1 / 6 / 8 / 11 Jul 2027
Lighting Design:
Jürgen Hoffmann

Jürgen Hoffmann

Jürgen Hoffmann arbeitete nach seiner Ausbildung zunächst an der Deutschen Oper in Berlin. 1971 wechselte er ans Opernhaus Zürich. Er wurde dort 1992 zum Leiter der Beleuchtung ernannt und war bis zu seiner Pensionierung im Jahr 2012 für die Lichtgestaltung von etwa 8 Neuproduktionen und bis zu 20 Wiederaufnahmen pro Jahr verantwortlich. Neben seiner Arbeit am Opernhaus Zürich war er weltweit als Lichtgestalter an zahlreichen führenden Opernhäusern tätig. Er arbeitete mit vielen namhaften Regisseuren und Bühnenbildnern zusammen. Eine langjährige Zusammenarbeit verbindet ihn mit den Regisseuren Harry Kupfer, Sven-Eric Bechtolf und Claus Guth sowie den Bühnenbildnern Rolf Glittenberg und Christian Schmidt. Seit seiner Pensionierung ist er als freier Lichtgestalter tätig. Seine letzten Arbeiten waren u.a. Rusalka an der Staatsoper Wien, Ariadne auf Naxos und Der Rosenkavalier an den Salzburger Festspielen sowie die Händel Oper Poro an der Komischen Oper in Berlin in der Inszenierung von Harry Kupfer. Jüngst war seine Lichtgestaltung in u.a. La Cenerentola an der Wiener Staatsoper und Ariadne auf Naxos an der Scala in Mailand zu sehen.

Don Carlo1 / 6 / 8 / 11 Jul 2027
Chorus Master:
Klaas-Jan de Groot

Klaas-Jan de Groot

Klaas-Jan de Groot is a Dutch conductor and choral director. Since the 2025/26 season, he has been Chorus Director of the Opernhaus Zürich. After studying in The Hague and Cardiff, he served from 2016 to 2022 as assistant to Chorus Director Ching-Lien Wu at the Dutch National Opera, where he prepared several productions and projects with the opera chorus. Since 2018, he has worked regularly with the Netherlands Radio Choir (Groot Omroepkoor). From 2018 to 2024, he served annually as assistant to Chorus Director Eberhard Friedrich at the Bayreuth Festival. He has conducted various concerts and performances with Opera Zuid as well as with the Orchestra of the Eighteenth Century and the Essener Philharmoniker. From 2022 to 2025, he was Chorus Director of the Aalto-Theater in Essen. Since 2023, he has worked regularly with the NDR Vokalensemble in Hamburg. In 2024, he made his debut with the MDR-Rundfunkchor as well as with the Rundfunkchor Berlin. In recognition of his support for emerging talent, Klaas-Jan de Groot was awarded the prestigious Dutch Conducting Prize of the Anton Kersjes Fonds in 2021.

Der Rosenkavalier21 / 26 Sept / 1 / 5 / 14 / 17 / 21 / 26 Oct 2025 Tannhäuser21 / 24 / 27 Jun / 2 / 5 / 8 / 11 Jul / 26 Sept / 4 / 9 / 13 Oct 2026 La Damnation de Faust10 / 14 / 17 May 2026 Hänsel und Gretel16 / 20 / 23 / 28 / 30 Nov / 2 / 4 / 11 / 16 / 18 / 21 Dec 2025 / 2 / 24 / 25 / 31 Jan 2026 Carmen18 / 21 / 23 / 27 / 31 Jan 2026 Un ballo in Maschera22 / 28 / 31 May / 7 / 13 Jun 2026 La forza del destino2 / 7 / 12 / 15 / 18 / 21 / 26 / 29 Nov / 17 / 21 Dec 2025 Rigoletto20 / 23 / 27 Dec 2025 / 1 / 4 Jan 2026 Fidelio3 / 6 / 10 / 14 / 16 May 2026 Macbeth8 / 11 / 14 / 19 / 22 / 30 Nov 2025 Cardillac18 / 21 / 25 Feb / 1 / 6 / 10 Mar 2026 Europa-Tournee 2026 «Messa da Requiem»22 / 23 / 25 / 26 / 29 / 31 Mar 2026 Die Zauberflöte20 / 25 Sept / 6 / 18 / 21 / 24 / 30 Oct 2026 / 2 / 8 / 18 / 20 / 23 Apr 2027 Die Fledermaus29 Sept / 8 / 17 / 23 / 25 Oct 2026 Rachmaninov – Die drei Opern1 / 4 / 8 / 15 / 18 / 21 / 28 Nov 2026 Manon Lescaut11 / 15 / 18 / 22 / 26 Dec 2026 Doctor Atomic7 / 11 / 14 / 20 / 24 / 28 Feb 2027 La fanciulla del west25 / 28 Feb / 3 / 7 Mar / 4 / 7 / 10 / 16 Apr 2027 Ascanio in Alba13 / 20 Mar 2027 L'elisir d'amore25 / 27 / 29 Apr / 2 / 6 / 9 / 12 / 14 / 17 / 21 May 2027 Requiem pour Ophélie4 / 7 / 9 May 2027 Samson et Dalila13 / 17 / 20 / 24 / 27 / 30 Jun / 2 / 9 Jul 2027 Don Carlo1 / 6 / 8 / 11 Jul 2027

Cast


Elisabetta di Valois Lise Davidsen

Filippo II Alexander Köpeczi


Don Carlo Stephen Costello

Rodrigo, marchese di Posa Amartuvshin Enkhbat


La principessa d'Eboli Marina Prudenskaya

Il grande inquisitore Liang Li


Tebaldo Natália Tuznik

Voce dal cielo Kathrin Zukowski


Il conte di Lerma Salvador Villanueva


Deputati fiamminghi Guram Margvelashvili 01, 06, 08, 11 Jul


Deputati fiamminghi Evan Gray 01, 06, 08, 11 Jul

Deputati fiamminghi Lazar Parezanin 01, 06, 08, 11 Jul

Deputati fiamminghi Theodore McAlindon 01, 06, 08, 11 Jul

Deputati fiamminghi Mikayel Sargsyan 01, 06, 08, 11 Jul

Deputati fiamminghi Benjamin Suran 01, 06, 08, 11 Jul

Lise Davidsen

Die junge Norwegerin Lise Davidsen findet seit ihrem Doppelgewinn des Operalia-Gesangswettbewerbs in London und des norwegischen Königin-Sonja-Musikwettbewerbs 2015 internationale Beachtung. Ab 2010 studierte sie Gesang an der Grieg Academy of Music in Bergen und an der Opera Academy in Kopenhagen. Dort war sie seit 2012/13 am Königlichen Opernhaus u.a. als Dackel / Eule (Das schlaue Füchslein), Emilia (Otello) und Rosalinde (Die Fledermaus) zu erleben. Die dramatische Sopranistin begann die Spielzeit 2015/16 mit einem konzertanten Engagement als Freia (Das Rheingold) mit dem Odense Symphony Orchestra unter Alexander Vedernikov und ihrem Debüt als Ortlinde (Die Walküre) an der Bayerischen Staatsoper in München. Konzerte führten Lise Davidsen u.a. für Verdis Requiem an die Berliner Philharmonie, mit dem Norwegischen Radio Orchester an die Kirsten Flagstad Hall sowie für Vier letzte Lieder an die Filarmonia George Enescu in Bukarest. Im Mai 2016 gab sie an der Seite von Helmut Deutsch einen Liederabend in Bergen und anschliessend ihr Hausdebüt an der Oper Frankfurt als Freia und Dritte Norn. Beim Glyndebourne Festival, in Aix-en-Provence und an der Wiener Staatsoper sang sie jüngst die Titelpartie in Ariadne auf Naxos. Am Royal Opera House in London war sie 2018 als Freia, Ortlinde, 3. Norn und als Solistin in Verdis Requiem zu hören und in Zürich war sie zuletzt als Agathe in Der Freischütz zu erleben.

Liederabend Lise Davidsen10 Nov 2026 Don Carlo1 Jul 2027 Open-Air-Concert4 Jul 2027

Alexander Köpeczi

Cast

Don Carlo1 / 6 / 8 / 11 Jul 2027

Stephen Costello

Stephen Costello is a native of Philadelphia and studied at the Academy of Vocal Arts in his hometown. In 2007, at just 26 years old, he made his debut at the season opening of the Metropolitan Opera. In 2009, he won the Richard Tucker Award. In 2010, he sang the role of Greenhorn in the world premiere of Jake Heggie’s opera Moby-Dick. Since then, he has appeared at major opera houses and festivals. He has performed roles such as Alfredo (La traviata) in Hamburg, at the Metropolitan Opera, the Royal Opera House Covent Garden, the Vienna State Opera, the Bolshoi Theatre, the Arena di Verona, and the Munich Opera Festival; Fernand (La Favorite) at the Liceu Barcelona; Don José (Carmen) in Dallas; Rodolfo (La bohème) in Dresden, Hamburg, Madrid, and Los Angeles; Pinkerton (Madama Butterfly) at the New National Theatre in Tokyo; Duca di Mantua (Rigoletto) at the Semperoper Dresden, in Hanover, Bregenz, at the Met, at the Deutsche Oper Berlin, and with the Canadian Opera Company; Lord Percy (Anna Bolena) at the Met; Cassio (Otello) in Salzburg; the Prince (Rusalka) in Strasbourg; and Des Grieux (Manon) at the Opéra de Paris. More recent engagements have included Rodolfo (La bohème) at the Metropolitan Opera and in Tokyo, José (Carmen) at the Bavarian State Opera, and the title role in Roberto Devereux in Zurich.

Un ballo in Maschera22 / 28 / 31 May / 7 / 13 Jun 2026 Don Carlo1 / 6 / 8 / 11 Jul 2027

Amartuvshin Enkhbat

Cast

Don Carlo1 / 6 / 8 / 11 Jul 2027

Marina Prudenskaya

Marina Prudenskaya wurde in St. Petersburg geboren. Im Anschluss an ihr Gesangstudium hatte sie ihr erstes Engagement am Stanislawskij-Opernhaus in Moskau. 2005-2007 war sie Ensemblemitglied der Deutschen Oper Berlin und 2007 bis 2013 Ensemblemitglied der Oper Stuttgart, wo sie u.a. als Octavian (Der Rosenkavalier), Amneris (Aida), Adalgisa (Norma), Brangäne (Tristan und Isolde) sowie als Waltraute (Götterdämmerung) zu hören war. Schwerpunkte ihres heutigen Repertoires sind die Werke von Richard Wagner und Giuseppe Verdi. 2006 gab sie ihr Debüt bei den Bayreuther Festspielen als Flosshilde (Der Ring des Nibelungen) unter Christian Thielemann. 2010 debütierte sie in Das Rheingold unter Daniel Barenboim an der Mailänder Scala. Im gleichen Jahr gab sie ihr Debüt bei den Berliner Philharmonikern mit Verdis Messa da Requiem unter Mariss Jansons. Als Konzertsängerin arbeitet sie regelmässig mit dem Rundfunk-Sinfonieorchester Berlin, den Berliner Philharmonikern und dem Symphonieorchester des Bayerischen Rundfunks zusammen. Seit 2013 ist sie Ensemblemitglied der Staatsoper Unter den Linden und sang dort u.a. Azucena (Il trovatore), Venus (Tannhäuser), Komponist (Ariadne auf Naxos), Ulrica (Un ballo in maschera) und Ljubascha (Die Zarenbraut). Zu ihren jüngeren Projekten zählen neben ihren zahlreichen Auftritten an der Staatsoper Berlin u. a. Konzerte wie Beethovens Missa solemnis unter Sebastian Weigle, Beethovens 9. Sinfonie in Montpellier unter Christian Arming sowie das Verdi-Requiem mit dem Rundfunk-Sinfonieorchester Berlin unter Marek Janowski. Zudem gastierte sie als Amneris (Aida) in Valencia, Madrid und Washington, gab ihr Debüt am Royal Opera House Covent Garden als Azucena (Il trovatore), und war in Zürich als Eboli in Don Carlos und im Sommer 2018 als Fricka in Die Walküre bei den Bayreuther Festspielen zu erleben.

Don Carlo1 / 6 / 8 / 11 Jul 2027

Liang Li

Cast

Don Carlo1 / 6 / 8 / 11 Jul 2027

Natália Tuznik

Natália Tuznik, soprano, was born in Budapest and completed her vocal studies at the Franz Liszt Academy of Music there. She was awarded the Junior Prima Prize. In 2023, she was a member of the Opera Academy at the Teatr Wielki in Warsaw and the following year took part in the "Exzellenz Labor Oper," founded by Hedwig Fassbender. She attended numerous masterclasses and worked with artists such as Éva Marton, Claudio Di Segni, Anatoli Goussev, Izabela Kłosińska, Fausto Nardi, Katelan Trần Terrell, Michał Biel, and René Massis. In 2022, she made her debut as Wellgunde ("Götterdämmerung") at the Hungarian State Opera and sang the First Lady ("The Magic Flute") on a tour of Japan. At the Hungarian State Opera, she has also performed the title role in Gluck’s "Iphigenie auf Tauris", Donna Anna ("Don Giovanni"), Alice Ford ("Falstaff"), and most recently Countess Almaviva ("Le nozze di Figaro"). Since the 2025/26 season, she has been a member of the International Opera Studio at the Zürich Opera House.

La forza del destino2 / 7 / 12 / 15 / 18 / 21 / 26 / 29 Nov / 17 / 21 Dec 2025 Gianni Schicchi2 / 6 / 8 / 10 / 13 May 2026 La rondine24 / 27 Sept / 1 / 10 / 15 Oct 2026 Die Walküre24 / 31 Jan / 3 / 6 Feb 2027 Don Carlo1 / 6 / 8 / 11 Jul 2027 Elektra22 / 26 Nov / 2 / 5 / 10 / 13 / 16 Dec 2026

Kathrin Zukowski

After studying instrumental pedagogy with a focus on guitar, Kathrin Zukowski studied singing at the Hochschule für Musik in Detmold and subsequently opera and music theatre at the Theaterakademie August Everding in Munich. From 2018 to 2020, she was a member of the Opera Studio at the Cologne Opera and has been part of its ensemble since the 2020/21 season. There, she appeared, among others, as Pamina in "Die Zauberflöte", Susanna in "Le nozze di Figaro", Gretel in "Hänsel und Gretel", Micaëla in "Carmen", as well as Konstanze in the studio production of "Die Entführung aus dem Serail". In the 2022/23 season, she made her debut as the Infanta in "Der Zwerg" and as Cleopatra in "Giulio Cesare in Egitto"; in 2023/24, further role debuts followed as Adina in "L’elisir d’amore", Ilia in "Idomeneo", and Eurydice in the world premiere of Ondřej Adámek’s "Ines". Guest engagements have taken her to the opera houses in Bielefeld, Braunschweig, Hanover, and Karlsruhe, as well as to the reopening of the Margrave's Opera House in Bayreuth as Arbace in Johann Adolf Hasse’s "Artaserse". In addition, she performed with the Tonkünstler-Orchester under Alfred Eschwé at the Musikverein Vienna and in Grafenegg, as well as in the role of Grilletta in "Lo speziale" at the Haydn Festival in Brühl. In the 2024/25 season, she gave, among others, role debuts in the title role of "Lucia di Lammermoor", as Ighino in "Palestrina" at the Vienna State Opera, and as Beauty in a concert performance of Handel’s "The Triumph of Time and Truth" with the Bach Consort Vienna.

Die Fledermaus29 Sept / 8 / 17 / 23 / 25 Oct 2026 Das Rheingold29 Nov / 4 / 12 / 17 Dec 2026 2. Konzert La Scintilla21 Dec 2026 Die Zauberflöte2 / 8 / 18 / 20 / 23 Apr 2027 Le nozze di Figaro2 / 6 / 8 / 15 / 19 May 2027 Don Carlo1 / 6 / 8 / 11 Jul 2027

Salvador Villanueva

Salvador Villanueva is a Mexican tenor. He completed his vocal training at the Universidad de Sonora and subsequently at the Mexican Opera Studio, where he sang roles including Goro in "Madama Butterfly" and Remendado in "Carmen." In the 2023/24 and 2024/25 seasons, he was a member of the Opera Studio at the Amsterdam Opera, performing roles such as Gastone ("La traviata"), Borsa ("Rigoletto"), the tenor role in Tom Johnson’s The Four Note Opera, and the Sailor ("Dido and Aeneas"). In 2024, he returned to Mexico to sing the title role in Gounod’s Roméo et Juliette. Salvador Villanueva was a finalist in singing competitions in Mexico City and ’s-Hertogenbosch. He has been a member of the International Opera Studio at the Zürich Opera House since the 2025/26 season.

Rigoletto20 / 23 / 27 Dec 2025 / 1 / 4 Jan 2026 Macbeth8 / 11 / 14 / 19 / 22 / 30 Nov 2025 Der Rosenkavalier1 / 5 / 14 / 17 / 21 / 26 Oct 2025 Gianni Schicchi2 / 6 / 8 / 10 / 13 May 2026 Die Zauberflöte20 / 25 Sept / 6 / 18 / 21 / 24 / 30 Oct 2026 / 2 / 8 / 18 / 20 / 23 Apr 2027 Alice im Wunderland8 / 15 / 19 / 21 / 26 / 28 Nov / 6 Dec 2026 / 2 / 7 / 8 / 10 / 17 Jan 2027 Manon Lescaut11 / 15 / 18 / 22 / 26 Dec 2026 La fanciulla del west25 / 28 Feb / 3 / 7 Mar / 4 / 7 / 10 / 16 Apr 2027 Don Carlo1 / 6 / 8 / 11 Jul 2027

Guram Margvelashvili

Guram Margvelashvili is from Georgia. He completed his vocal studies in 2024 at the State Conservatory in Tbilisi. From 2019 to 2023, he was a member of the Tbilisi Opera Studio, where he performed roles such as the Priest and Papageno in "The Magic Flute," Valentin in Gounod’s "Faust," and the title roles in "Don Giovanni" and "Eugene Onegin." He also sang Belcore in Donizetti’s "L’elisir d’amore." Guram Margvelashvili has received several scholarships and was a finalist in the Giuseppe Di Stefano International Singing Competition in Sicily and the Tamar Iveri International Singing Competition in Georgia. Since the 2025/26 season, he has been a member of the International Opera Studio at the Zürich Opera House.

Rigoletto20 / 23 / 27 Dec 2025 / 1 / 4 Jan 2026 Werther14 / 19 Jun / 1 / 4 / 10 Jul 2026 Macbeth8 / 11 / 14 / 19 / 22 / 30 Nov 2025 Carmen18 / 21 / 23 / 27 / 31 Jan 2026 Gianni Schicchi2 / 6 / 8 / 10 / 13 May 2026 La rondine24 / 27 Sept / 1 / 10 / 15 Oct 2026 Die lustige Witwe27 / 31 Dec 2026 / 3 / 7 / 10 / 13 Jan 2027 La fanciulla del west25 / 28 Feb / 3 / 7 Mar / 4 / 7 / 10 / 16 Apr 2027 Don Pasquale23 / 27 / 30 May / 4 / 6 / 11 Jun 2027 Don Carlo1 / 6 / 8 / 11 Jul 2027 Angels in America7 / 9 / 19 / 21 / 23 May 2027

Evan Gray

Evan Gray is a Swiss bass-baritone from Winterthur. He began his musical training as a treble with the Zürich Boys’ Choir and later transitioned to the bass voice. After initial vocal studies at the Winterthur Conservatory, he continued his education at the prestigious Curtis Institute in Philadelphia. His roles to date include the Forester ("Das schlaue Füchslein"), Figaro ("Le nozze di Figaro"), and Leporello ("Don Giovanni"). As an accomplished recitalist, he has performed Schubert’s "Winterreise" and Vaughan Williams’ "Songs of Travel" multiple times and has collaborated with artists such as Julius Drake and Robert Holl. From 2023 to 2025, he was a guest at the Marlboro Music Festival, where he developed a close artistic relationship with pianist Mitsuko Uchida, who has invited him back for the summer 2026 edition. Since the 2025/26 season, Evan Gray has been a member of the International Opera Studio at the Zürich Opera House.

Tosca28 Sept / 2 / 8 / 11 / 15 / 19 Oct 2025 Rigoletto20 / 23 / 27 Dec 2025 / 1 / 4 Jan 2026 Werther14 / 19 Jun / 1 / 4 / 10 Jul 2026 Macbeth8 / 11 / 14 / 19 / 22 / 30 Nov 2025 Sillons de Mémoires5 / 6 / 7 Feb 2026 Giulio Cesare in Egitto11 / 13 / 15 / 17 / 21 / 25 / 28 Mar 2026 Gianni Schicchi2 / 6 / 8 / 10 / 13 May 2026 La traviata20 / 23 / 29 Dec 2026 / 1 / 3 / 6 / 9 / 12 / 15 / 19 / 23 Jan 2027 Roméo et Juliette12 / 19 / 21 Feb / 2 / 5 Mar 2027 La fanciulla del west25 / 28 Feb / 3 / 7 Mar / 4 / 7 / 10 / 16 Apr 2027 Die Zauberflöte2 / 8 / 18 / 20 / 23 Apr 2027 Don Carlo1 / 6 / 8 / 11 Jul 2027 Angels in America7 / 9 / 19 / 21 / 23 May 2027 c-Moll-Messe17 Mar 2027

Lazar Parezanin

Cast

Die lustige Witwe27 / 31 Dec 2026 / 3 / 7 / 10 / 13 Jan 2027 Roméo et Juliette12 / 19 / 21 Feb / 2 / 5 Mar 2027 Don Carlo1 / 6 / 8 / 11 Jul 2027 Angels in America7 / 9 / 19 / 21 / 23 May 2027

Theodore McAlindon

Cast

Die Zauberflöte20 / 25 Sept / 6 / 18 / 21 / 24 / 30 Oct 2026 / 2 / 8 / 18 / 20 / 23 Apr 2027 Manon Lescaut11 / 15 / 18 / 22 / 26 Dec 2026 La fanciulla del west25 / 28 Feb / 3 / 7 Mar / 4 / 7 / 10 / 16 Apr 2027 Le nozze di Figaro2 / 6 / 8 / 15 / 19 May 2027 Don Carlo1 / 6 / 8 / 11 Jul 2027

Mikayel Sargsyan

Cast

La rondine24 / 27 Sept / 1 / 10 / 15 Oct 2026 La traviata20 / 23 / 29 Dec 2026 / 1 / 3 / 6 / 9 / 12 / 15 / 19 / 23 Jan 2027 La fanciulla del west25 / 28 Feb / 3 / 7 Mar / 4 / 7 / 10 / 16 Apr 2027 Tosca11 / 14 / 17 / 21 / 24 Apr / 13 / 17 May 2027 Don Carlo1 / 6 / 8 / 11 Jul 2027

Benjamin Suran

Cast

La rondine24 / 27 Sept / 1 / 10 / 15 Oct 2026 Die lustige Witwe27 / 31 Dec 2026 / 3 / 7 / 10 / 13 Jan 2027 La fanciulla del west25 / 28 Feb / 3 / 7 Mar / 4 / 7 / 10 / 16 Apr 2027 Tosca11 / 14 / 17 / 21 / 24 Apr / 13 / 17 May 2027 Don Carlo1 / 6 / 8 / 11 Jul 2027
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Orchester der Oper Zürich

Cast

Der Rosenkavalier21 / 26 Sept / 1 / 5 / 14 / 17 / 21 / 26 Oct 2025 Tugan Sokhiev12 Jul 2026 Manon24 / 27 Sept / 3 / 7 / 10 Oct 2025 La scala di seta25 / 28 Sept / 19 / 24 Oct 2025 Tosca28 Sept / 2 / 8 / 11 / 15 / 19 Oct 2025 / 11 / 14 / 17 / 21 / 24 Apr / 13 / 17 May 2027 Capuçon & Heras-Casado4 Oct 2025 Tannhäuser21 / 24 / 27 Jun / 2 / 5 / 8 / 11 Jul / 26 Sept / 4 / 9 / 13 Oct 2026 Cardillac15 / 18 / 21 / 25 Feb / 1 / 6 / 10 Mar 2026 La Damnation de Faust10 / 14 / 17 May 2026 Hänsel und Gretel16 / 20 / 23 / 28 / 30 Nov / 2 / 4 / 11 / 16 / 18 / 21 Dec 2025 / 2 / 24 / 25 / 31 Jan 2026 Carmen18 / 21 / 23 / 27 / 31 Jan 2026 Un ballo in Maschera22 / 28 / 31 May / 7 / 13 Jun 2026 La forza del destino2 / 7 / 12 / 15 / 18 / 21 / 26 / 29 Nov / 17 / 21 Dec 2025 Rigoletto20 / 23 / 27 Dec 2025 / 1 / 4 Jan 2026 Le nozze di Figaro24 / 29 Jan / 1 / 5 / 7 / 10 / 14 Feb 2026 / 2 / 6 / 8 / 15 / 19 May 2027 Fidelio3 / 6 / 10 / 14 / 16 May 2026 Werther14 / 19 Jun / 1 / 4 / 10 Jul 2026 Oiseaux Rebelles12 / 18 / 23 / 25 / 31 Oct / 1 / 9 / 13 Nov / 2 / 5 / 6 / 9 Dec 2025 / 11 / 13 / 16 / 18 / 27 Sept 2026 Macbeth8 / 11 / 14 / 19 / 22 / 30 Nov 2025 Ehnes & Noseda23 Nov 2025 Die Fledermaus7 / 10 / 12 / 14 / 18 / 26 / 28 / 31 Dec 2025 / 2 / 4 / 6 / 10 Jan / 29 Sept / 8 / 17 / 23 / 25 Oct 2026 Clara13 / 14 / 19 / 20 / 26 / 28 Dec 2025 / 11 / 12 / 17 / 19 / 24 Apr 2026 Countertime5 / 7 / 14 Sept 2025 Altstaedt & Chan11 Jan 2026 Jussen & Rustioni8 Feb 2026 Celebratory concert for Ralf Weikert’s 85th birthday22 Feb 2026 Monster's Paradise8 / 14 / 18 Mar / 10 / 12 Apr 2026 Messa da Requiem20 / 22 / 28 Feb / 1 / 5 / 7 Mar / 6 Apr 2026 Arabella14 / 18 / 22 / 25 / 28 Apr 2026 Romeo und Julia23 / 29 / 30 May / 4 / 6 / 7 / 10 / 12 / 14 / 23 / 26 Jun / 20 / 27 / 29 Nov / 6 / 13 / 19 / 26 / 27 Dec 2026 Open-Air-Concert28 Jun 2026 / 4 Jul 2027 Mühlemann & Noseda21 / 28 Mar / 1 Apr 2026 Europa-Tournee 2026 «Messa da Requiem»22 / 23 / 25 / 26 / 29 / 31 Mar 2026 Die Zauberflöte20 / 25 Sept / 6 / 18 / 21 / 24 / 30 Oct 2026 / 2 / 8 / 18 / 20 / 23 Apr 2027 La rondine24 / 27 Sept / 1 / 10 / 15 Oct 2026 Ein Sommernachtstraum26 Sept / 11 / 16 / 18 / 25 / 28 / 29 / 31 Oct / 12 / 13 / 14 Nov 2026 / 19 / 22 / 29 Jun / 3 Jul 2027 1th Philharmonic Concert3 Oct 2026 Alice im Wunderland8 / 15 / 19 / 21 / 26 / 28 Nov / 6 Dec 2026 / 2 / 7 / 8 / 10 / 17 Jan 2027 Elektra22 / 26 Nov / 2 / 5 / 10 / 13 / 16 Dec 2026 Das Rheingold29 Nov / 4 / 12 / 17 Dec 2026 Gabetta & Noseda7 Nov 2026 Manon Lescaut11 / 15 / 18 / 22 / 26 Dec 2026 Fuchs & Jordan1 / 2 Jan 2027 Trifonov & Järvi16 Jan 2027 Die Walküre24 / 31 Jan / 3 / 6 Feb 2027 Doctor Atomic7 / 11 / 14 / 20 / 24 / 28 Feb 2027 Roméo et Juliette12 / 19 / 21 Feb / 2 / 5 Mar 2027 Sorita & Lyniv14 Feb 2027 La fanciulla del west25 / 28 Feb / 3 / 7 Mar / 4 / 7 / 10 / 16 Apr 2027 L'elisir d'amore25 / 27 / 29 Apr / 2 / 6 / 9 / 12 / 14 / 17 / 21 May 2027 Balanas & Peltokoski18 Apr 2027 Requiem pour Ophélie4 / 7 / 9 May 2027 See the music, hear the dance22 / 28 May / 6 / 10 / 12 / 15 / 25 / 26 / 27 Jun 2027 Don Pasquale23 / 27 / 30 May / 4 / 6 / 11 Jun 2027 Samson et Dalila13 / 17 / 20 / 24 / 27 / 30 Jun / 2 / 9 Jul 2027 La bohème16 / 18 / 23 Jun / 4 / 7 / 10 Jul 2027 Don Carlo1 / 6 / 8 / 11 Jul 2027 Viotti29 May 2027 Rachmaninov – Die drei Opern1 / 4 / 8 / 15 / 18 / 21 / 28 Nov 2026 Benefiz «amiamusica»2 Oct 2026

Zusatzchor der Oper Zürich

Der Zusatzchor der Oper Zürich (ZOZ) wird hauptsächlich als Verstärkung des hauseigenen Berufschors eingesetzt. Das Repertoire umfasst Werke aller Epochen – von Idomeneo (Mozart) bis Schlafes Bruder (Willi) – und in vielen Sprachen, darunter Russisch (Pique Dame), Tschechisch (Rusal­ka) oder auch Schweizerdeutsch (Engelberger Talhochzeit). Vermehrt werden die Mitglieder des ZOZ auch in kleinen Gruppen eingesetzt (Fidelio, Holländer), hinter der Bühne (Katia Kabanova, Fedora) oder in ausgewählten Szenen (Autodafé in Don Carlo, Stierkampf in Carmen). Zuweilen übernimmt der ZOZ selbständige Aufgaben, etwa bei Il barbiere di Si­­viglia, Madame Sans-Gêne oder im Mozart-Ballett …eine lichte, helle, schöne Ferne. Besondere Höhepunkte waren die im Theater am Stadtgarten, Winterthur, erarbeiteten Inszenierungen: Die lustigen Weiber von Windsor, Wiener Blut und Axur, Re d’Ormus. Die rund 50 aktiven Sängerinnen und Sänger des ZOZ üben die Tätigkeit am Opernhaus nebenamtlich aus, verfügen aber über eine stimmliche Grundausbildung sowie eine vertiefte musikalische Erfahrung. Die konzentrierte und anforderungsreiche Probentätigkeit und die unregel­mäs­si­gen Einsätze stellen an die berufliche wie private Belastbarkeit und Flexibilität der Mitglieder höchste Anforderungen. Voraussetzung für die Aufnahme ist u.a. das Bestehen einer Stimmprüfung sowie die Bereitschaft zu einer klaren Prioritätensetzung und hohen Präsenz.

Fidelio3 / 6 / 10 / 14 / 16 May 2026 Messa da Requiem20 / 22 / 28 Feb / 1 / 5 / 7 Mar / 6 Apr 2026 Don Carlo1 / 6 / 8 / 11 Jul 2027

Statistenverein am Opernhaus Zürich

Der Statistenverein am Opernhaus Zürich wurde im Jahr 1900 gegründet und dürfte damit einer der traditionsreichsten Vereine auf dem Kulturplatz Zürich sein. Rund hundert Frauen und Männer im Alter von 16 bis 70 Jahren bereichern das Bühnengeschehen in zahlreichen Inszenierungen.Statisten, früher auch als Figuranten bezeichnet, haben generell nicht sprechende Rollen. Ihre Einsätze am Opernhaus Zürich fallen je nach Inszenierung unterschiedlich umfangreich aus. Während früher Massenszenen im Vordergrund standen, sind die Statistinnen und Statisten seit der Ära Pereira und der Intendanz von Andreas Homoki zunehmend auch für aufwändigere Einzelauftritte sowie für anspruchsvolle technische Einsätze gefragt. Die Mitglieder des Statistenvereins üben ihre Einsätze in der Freizeit und ohne finanzielle Interessen aus. Sie bringen Begeisterung für Musik und Theater mit.

Manon24 / 27 Sept / 3 / 7 / 10 Oct 2025 La scala di seta25 / 28 Sept / 19 / 24 Oct 2025 Tosca28 Sept / 2 / 8 / 11 / 15 / 19 Oct 2025 / 11 / 14 / 17 / 21 / 24 Apr / 13 / 17 May 2027 Madama Butterfly30 Dec 2025 / 3 / 9 / 11 / 13 / 16 Jan 2026 Rigoletto20 / 23 / 27 Dec 2025 / 1 / 4 Jan 2026 Le nozze di Figaro24 / 29 Jan / 1 / 5 / 7 / 10 / 14 Feb 2026 / 2 / 6 / 8 / 15 / 19 May 2027 Werther14 / 19 Jun / 1 / 4 / 10 Jul 2026 Così fan tutte3 / 7 / 9 / 12 Jul 2026 Macbeth8 / 11 / 14 / 19 / 22 / 30 Nov 2025 Arabella14 / 18 / 22 / 25 / 28 Apr 2026 Der Rosenkavalier21 / 26 Sept / 1 / 5 / 14 / 17 / 21 / 26 Oct 2025 La clemenza di Tito26 / 29 Apr / 3 / 8 / 15 / 17 / 20 / 25 May 2026 Cardillac15 / 18 / 21 / 25 Feb / 1 / 6 / 10 Mar 2026 Hänsel und Gretel16 / 20 / 23 / 28 / 30 Nov / 2 / 4 / 11 / 16 / 18 / 21 Dec 2025 / 2 / 24 / 25 / 31 Jan 2026 Carmen18 / 21 / 23 / 27 / 31 Jan 2026 Un ballo in Maschera22 / 28 / 31 May / 7 / 13 Jun 2026 Die Fledermaus7 / 10 / 12 / 14 / 18 / 26 / 28 / 31 Dec 2025 / 2 / 4 / 6 / 10 Jan / 29 Sept / 8 / 17 / 23 / 25 Oct 2026 Giulio Cesare in Egitto11 / 13 / 15 / 17 / 21 / 25 / 28 Mar 2026 Scylla et Glaucus27 / 29 / 31 Mar / 2 / 6 / 30 Apr / 2 May 2026 La forza del destino2 / 7 / 12 / 15 / 18 / 21 / 26 / 29 Nov / 17 / 21 Dec 2025 Sillons de Mémoires5 / 6 / 7 Feb 2026 Gianni Schicchi2 / 6 / 8 / 10 / 13 May 2026 Monster's Paradise8 / 14 / 18 Mar / 10 / 12 Apr 2026 Alice im Wunderland8 / 15 / 19 / 21 / 26 / 28 Nov / 6 Dec 2026 / 2 / 7 / 8 / 10 / 17 Jan 2027 Manon Lescaut11 / 15 / 18 / 22 / 26 Dec 2026 Die lustige Witwe27 / 31 Dec 2026 / 3 / 7 / 10 / 13 Jan 2027 Die Walküre24 / 31 Jan / 3 / 6 Feb 2027 Roméo et Juliette12 / 19 / 21 Feb / 2 / 5 Mar 2027 La bohème16 / 18 / 23 Jun / 4 / 7 / 10 Jul 2027 Don Carlo1 / 6 / 8 / 11 Jul 2027 La fanciulla del west25 / 28 Feb / 3 / 7 Mar / 4 / 7 / 10 / 16 Apr 2027 Elektra22 / 26 Nov / 2 / 5 / 10 / 13 / 16 Dec 2026 Rinaldo14 / 19 / 23 / 25 / 27 / 29 Mar 2027 Samson et Dalila13 / 17 / 20 / 24 / 27 / 30 Jun / 2 / 9 Jul 2027 Tannhäuser26 Sept / 4 / 9 / 13 Oct 2026

Abstract

Giuseppe Verdi’s "Don Carlo" brings together political power struggles and unfulfilled passion in a monumental operatic drama. The Spanish infante Carlos loves the French princess Elisabetta. When his father, King Philip II, marries her for political reasons, Carlos comes into conflict with the ruler. Set against the backdrop of the cruelties of the Spanish Inquisition and the struggle for freedom in Flanders, Giuseppe Verdi created a work that is as moving as it is highly dramatic. With Petr Popelka, one of the rising conductors of the younger generation returns to the podium of the Orchestra of the Zurich Opera House. Lise Davidsen sings Elisabetta di Valois.

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Photo Gallery "Don Carlo"


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Synopsis

Act One
In the cloisters of St. Just’s Monastery, some monks are praying at the tomb of Emperor Charles V. Realizing the vanity of all earthly matters, Charles had withdrawn to the monastery shortly before his death and handed over all powers in the empire he had created to his son Philip II. Carlos comes to his grandfather’s tomb in his attempts to overcome his forbidden love for Elisabeth, who is now queen and his stepmother. In doing so, he believes that he recognizes his grandfather in one of the monks. – Carlos tells Rodrigo, a boyhood friend who is now the Marquis of Posa, about his lost love. Rodrigo, who has just returned from Flanders, advises him to take on a great challenge to distract himself: saving the Spanish province of Flanders, where Philip is brutally putting down a rebellion linked to people turning to the Protestant faith. Carlos readily accepts, and the two friends swear an oath of eternal friendship and loyalty. When Philip and Elisabeth come out of the monastery, Rodrigo urges Carlos once again to devote his life to the cause of freedom.

Close by, Princess Eboli and the ladies of the court are waiting for the queen, who is the only woman permitted to enter the monastery. To pass the time, Eboli sings a highly suggestive song about a veil that inflames into love yet also conceals the truth. After Elisabeth has emerged, Rodrigo is announced. He presents the queen with a letter from her mother in France, and also urges her to receive Carlos. When Rodrigo describes Carlos’s dejection, Eboli concludes that she is the object of his desires. The queen agrees to see her stepson, and everyone else withdraws.

Carlos asks Elisabeth to persuade the king to send him to Flanders as regent. At the same time, though, their meeting reawakens his love. Only with great difficulty does Elisabeth retain her own composure and remind him that she is now his father’s wife. Carlos rushes out. – Philip enters to find Elisabeth alone – against all the court rules he has imposed. He turns on the Countess of Aremberg, a courtier who was supposed to have stayed with the queen, and orders her back to France. Elisabeth bids an emotional goodbye to her childhood friend, and begs her not to say anything about the insult she has just suffered when she arrives home.
The king is now left with Rodrigo, and engages him in conversation. Rodrigo takes advantage of this unexpected opportunity to describe the severity of the situation in Flanders. He urges Philip to give the Flemish their freedom instead of wreaking misery and death. The king is impressed at Rodrigo’s bold openness, but rejects his political view. He does make him his confidant, however, and tells him of his suspicions that Elisabeth is being unfaithful to him with his son Carlos. He instructs Rodrigo to keep an eye on them both; and he also warns Rodrigo about the Inquisition.

Act Two
Carlos meets Eboli at a nighttime garden party. Since Eboli has traded masks and costumes with the queen, Carlos assumes that it is Elisabeth he is talking to, and offers her a passionate declaration of his love. He realizes his mistake too late: Eboli now knows where his feelings really lie. Deeply offended, she vows revenge. Rodrigo, who has just arrived, sees the danger, and tells Carlos to hand him any incriminating papers he may have on him. Carlos hands them over – fully aware that Rodrigo is now a confidant of the king.

The people have gathered in the square in front of the cathedral to witness the public burning of heretics. The king and queen are also attending this auto-da-fé. Suddenly Carlos appears with a delegation of deputies from Flanders. He demands that Philip make him regent of the rebellious province. When Philip brusquely rejects the request, Carlos draws his dagger. Nobody dares to intervene: it is left to Rodrigo to disarm him. At this the king appoints Rodrigo a duke. As well as those already condemned, the deputies from Flanders are also led to the fire. A voice from Heaven promises them peace in God’s hands.

Act Three
Unable to sleep, Philip ponders his loneliness in his study. He is deeply troubled by Elisabeth’s lack of love for him. He calls for the Grand Inquisitor to assure himself that, were he to have his rebellious son executed, he would still enjoy the blessing of the church. The Grand Inquisitor, for his part, demands that Rodrigo be put to death, for his incendiary and heretical activities. When the king protests, the Inquisitor threatens to bring him, too, before the tribunal. Philip is forced to defer.

Elisabeth complains to her husband that someone has stolen her jewellery casket. Eboli has taken it and given it to the king. He opens it forcefully and finds a portrait of Carlos inside. When Philip accuses her of adultery and threatens to kill her, Elisabeth falls into a faint. Rodrigo and Eboli rush to assist. While Rodrigo reproaches the king for his lack of control, Eboli regrets her machinations. Elisabeth, for her part, can now think only of a life beyond. 
Left alone with the queen, Princess Eboli confesses that she denounced her to Philip out of her own love for Carlos. When Eboli follows this by revealing that she is also the king’s lover, Elisabeth calls on her to choose between exile and a convent. Eboli curses her beauty and resolves to save Carlos.

Rodrigo goes in search of Carlos in prison, to say his farewells. Rodrigo has used the papers Carlos gave him to divert the suspicions of involvement in the Flanders insurrection onto himself. Rodrigo urges Carlos to continue the fight to liberate Flanders in his place. Then he is shot in the back by the Inquisition’s henchmen. As he dies, he tells Carlos that Elisabeth will be awaiting him at St. Just’s the next day.
The king comes to return Carlos’s dagger. But Carlos promptly incriminates himself by informing his deeply distressed father of Rodrigo’s sacrificial action. Meanwhile, the people have risen up to free Carlos from his custody. To the dismay of the grandees, the king orders the doors to be opened. In the ensuing mêlée, Eboli urges Carlos to flee. When the Grand Inquisitor appears, the uprising collapses: the people bow down once again to the Crown and the Church.

Act Four
Back at St. Just’s Monastery, Elisabeth is praying at Charles V’s tomb. All she seeks now is death. She says farewell to Carlos, who, to honour Rodrigo’s memory, has now re­solved to renounce his love for her and fight for Flanders’ freedom. As Elisabeth and Carlos say goodbye, they are surprised by Philip and the Grand Inquisitor. Their execution seems inevitable. But then the mysterious monk with the voice of Charles V saves Carlos from earthly justice.