Ferruccio Furlanetto (at the Met last year) as the sleepless King Philip in his study -- with the fateful jewel box
The KING's study in Madrid. The KING, plunged in deep meditation, leaning on a table covered with papers, where candles are near burning out. Day begins to illuminate the colored glass of the windows.
KING PHILIP [as if in a dream]:
She never loved me.
No, that heart is closed to me.
She doesn't love me, she doesn't love me.
I still see her again, contemplating with a sad look
my white mane the day that she came here from France.
No, she doesn't love me, she doesn't love me.
[in Italian, as above] Cesare Siepi (bs), King Philip II; Metropolitan Opera Orchestra, Fritz Stiedry, cond. Live performance, Nov. 11, 1950
[in Italian, as above] Nicola Rossi-Lemeni (bs), King Philip II; NHK Symphony Orchestra (Tokyo), Oliviero de Fabritiis, cond. Telecast performance, Sept. 2, 1967
[in French (slightly different text)] Erwin Schrott (bs), King Philip II; Rafat Jezierski, cello; Orquestra de la Communitat Valenciana, Riccardo Frizza, cond. Decca, recorded Jan.-Feb. 2008
As I noted in last night's preview ("Poor King Philip receives yet another unwelcome early-morning visitor"), we're resuming our journey through the Don Carlos Act IV scene in King Philip's study which began with his pre-dawn monologue ("Verdi's King Philip -- a man in crisis," January 2013) and continued with the crack-of-dawn confrontation between the king and the 90-year-old blind Grand Inquisitor pay a just-at-dawn call on the king ("'The pride of the king withers before the pride of the priest!' (Verdi's King Philip)," March 2013).
Back when we began our journey, I said that sleeplessly half-deranged state in which we found the king, exacerbated by the severe bullying inflicted by the Grand Inquisitor, would lead him to commit a monstrous act. That act is the climax of the slender bit of scene which is our work unit this week.
WE GET DOWN TO BUSINESS PRETTY QUICKLY