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Don Carlos

Don Carlos is an 1867 five-act grand opera composed by Giuseppe Verdi to a French-language libretto by Joseph Méry and Camille du Locle, based on the dramatic play Don Karlos, Infant von Spanien (Don Carlos, Infante of Spain) by Friedrich Schiller. In addition, several incidents, of which the Forest of Fontainebleau scene and auto-da-fé were the most substantial, were borrowed from Eugène Cormon's 1846 play Philippe II, Roi d'Espagne. The opera is most often performed in Italian translation, usually under the title Don Carlo.

The opera's story is based on conflicts in the life of Carlos, Prince of Asturias (1545–1568). Though he was betrothed to Elisabeth of Valois, part of the peace treaty ending the Italian War of 1551–59 between the Houses of Habsburg and Valois demanded that she be married instead to his father Philip II of Spain. It was commissioned and produced by the Théâtre Impérial de l'Opéra (Paris Opera) and given its premiere at the Salle Le Peletier on 11 March 1867.

The first performance in Italian was given at Covent Garden in London in June 1867. The first performance in Italy was in Bologna in October 1867, also in Italian translation. After some revisions by Verdi, it was performed in Italian in Naples in November/December 1872. Verdi was also responsible for a short four-act "Milan version" in which the first act was removed and the ballet omitted (performed in Milan in January 1884 in Italian translation) but also apparently approved a five-act "Modena version" in which the first act was restored but the ballet still omitted (performed in Modena in December 1886, also in Italian translation). Around 1970, substantial passages of music cut before the premiere were discovered in Paris archives, giving rise to at least one additional version that can be ascribed to Verdi: the version he prepared for the Paris Opera in 1866, before any cuts were made. No other Verdi opera exists in so many authentic versions. At its full length (including the ballet and the cuts made before the first performance), it contains close to four hours of music and is Verdi's longest opera.

Composition history
Pre-première cuts and first published edition Verdi made a number of cuts in 1866, after finishing the opera but before composing the ballet, simply because the work was becoming too long. These were a duet for Elisabeth and Eboli in Act 4, Scene 1; a duet for Carlos and the King after the death of Posa in Act 4, Scene 2; and an exchange between Elisabeth and Eboli during the insurrection in the same scene.

After the ballet had been composed, it emerged during the 1867 rehearsal period that, without further cuts, the opera would not finish before midnight (the time by which patrons would need to leave in order to catch the last trains to the Paris suburbs). Verdi then authorised some further cuts, which were, firstly, the introduction to Act 1 (with a chorus of woodcutters and their wives, and including the first appearance of Elisabeth); secondly, a short entry solo for Posa (J'étais en Flandres) in Act 2, Scene 1; and, thirdly, part of the dialogue between the King and Posa at the end of Act 2, Scene 2.

The opera was first published as given at the première and consisted of Verdi's original conception, without the music of the above-named cuts, but with the ballet.

In 1969, at a Verdi congress in Verona, the American musicologist David Rosen presented the missing section from the Philip-Posa duet from the end of Act 2, which he had found folded down in the conductor's copy of the score. Other pages with cuts had simply been removed from the autograph score and the conductor's copy. Shortly thereafter, the British music critic Andrew Porter found most of these other cut passages could be reconstructed from the individual parts, in which the pages with the "lost" music had been either "pasted, pinned or stitched down." In all, 21 minutes of missing music was restored. Nearly all of the known music Verdi composed for the opera, including the pre-première cuts and later revisions, can be found in an integral edition prepared by the German musicologist Ursula Günther, first published in 1980 and in a second, revised version in 1986.

As Don Carlos in French
After the première and before leaving Paris, Verdi authorised the Opéra authorities to end Act 4, Scene 2 with the death of Posa (thereby omitting the insurrection scene) if they thought fit. This was done, beginning with the second performance on 13 March, after his departure. Further (unauthorised) cuts were apparently made during the remaining performances. Despite a grandiose production designed by scenic artists Charles-Antoine Cambon and Joseph Thierry (Acts I and III), Édouard Desplechin and Jean-Baptiste Lavastre (Acts II and V), and Auguste Alfred Rubé and Philippe Chaperon (Act IV), it appears to have been a "problem opera" for the Opéra—it disappeared from its repertoire after 1869.

As Don Carlo in an Italian translation

It was common practice at the time for most theatres (other than those in French-speaking communities) to perform operas in Italian, and an Italian translation of Don Carlos was prepared in the autumn of 1866 by Achille de Lauzières. On 18 November 1866 Verdi wrote to Giovanni Ricordi, offering the Milan publisher the Italian rights, but insisting that the opera:
 * must be performed in its entirety as it will be performed for the first time at the Paris Opéra. Don Carlos is an opera in five acts with ballet: if nevertheless the management of Italian theatres would like to pair it with a different ballet, this must be placed either before or after the uncut opera, never in the middle, following the barbarous custom of our day.

However, the Italian translation was first performed not in Italy but in London at the Royal Opera House, Covent Garden on 4 June 1867, where it was produced and conducted by Michael Costa. However, it was not as Verdi desired; the opera was given in a cut and altered form, with the first act being removed, the ballet in Act 3 being omitted, and Carlo's aria Io la vidi (originally in Act 1) being moved to Act 3, just before the terzetto. Additionally, the duet between Philip and the Inquisitor was shortened by four lines, and Elisabeth's aria in Act 5 consisted only of part of the middle section and the reprise. The production was initially considered a success, and Verdi sent a congratulatory note to Costa. Later when he learned of the alterations, Verdi was greatly irritated, but Costa's version anticipated revisions Verdi himself would make a few years later in 1882–83.

The Italian premiere on 27 October 1867 at the Teatro Comunale di Bologna, conducted by Verdi's close friend Angelo Mariani, was an "instant success", and this version, although produced in Verdi's absence, was more complete and included the ballet. For the Rome premiere on 9 February 1868 at the Teatro Apollo, perhaps unsurprisingly, the Papal censor changed the Inquisitor into a Gran Cancelliere (Grand Chancellor) and the Monk/Emperor into a Solitario (Recluse).

This version of the opera was first performed in Milan at La Scala on 25 March 1868, and prestige productions in most other Italian opera houses followed, but it did not become a popular success. The length was a particular problem, and subsequent performances were generally heavily cut. The first production in Naples in 1871 was indisputably a failure.

1872 revisions for Naples
Following the unsuccessful performance in Naples in 1871, Verdi was persuaded to visit the city for further performances in November / December 1872, and he made two more modifications to the score: (a) a revision of the closing two-thirds of the Philippe-Rodrigue duet in Act 2, Scene 2 (to Italian verses, almost certainly by Antonio Ghislanzoni ), which replaced some of the previously cut material, and (b) the removal of the allegro marziale section of the final Elisabeth-Carlos duet (replaced with an 8-bar patch). These are the only portions of the opera that were composed to an Italian rather than a French text. According to Julian Budden, Verdi "was to regret both modifications". Ricordi incorporated the revisions into later prints of the opera without changing the plate numbers. This subsequently confused some authors, e.g. Francis Toye and Ernest Newman, who dated them to 1883.

1882/83 and 1886 revisions: "Milan version" and "Modena version"
The idea of reducing the scope and scale of Don Carlos had originally come to Verdi in 1875, partly as a result of his having heard reports of productions, such as Costa's, which had removed Act 1 and the ballet and introduced cuts to other parts of the opera. By April 1882, he was in Paris where he was ready to make changes. He was already familiar with the work of Charles-Louis-Étienne Nuitter, who had worked on French translations of Macbeth, La forza del destino and Aida with du Locle, and the three proceeded to spend nine months on major revisions of the French text and the music to create a four-act version. This omitted Act 1 and the ballet, and was completed by March 1883. An Italian translation of this revised French text, re-using much of the original 1866 translation by de Lauzières, was made by. The La Scala première of the 1883 revised version took place on 10 January 1884 in Italian.

Although Verdi had accepted the need to remove the first act, it seems that he changed his mind and allowed a performance which presented the "Fontainebleau" first act along with the revised four-act version. It was given on 29 December 1886 in Modena, and has become known as the "Modena version", which was published by Ricordi as "a new edition in five acts without ballet".

20th century and beyond
In Italian

Performances of Don Carlo in the first half of the twentieth century were rare, but in the post Second World War period it has been regularly performed, particularly in the four-act 1884 "Milan version" in Italian. In 1950, to open Rudolf Bing's first season as director of the Metropolitan Opera, the four-act version was performed without the ballet in a production by Margaret Webster with Jussi Björling in the title role, Delia Rigal as Elizabeth, Robert Merrill as Rodrigo, Fedora Barbieri as Eboli, Cesare Siepi as Philip II and Jerome Hines as the Grand Inquisitor. This version was performed there until 1972. The four-act version in Italian continued to be championed by conductors such as Herbert von Karajan (1978 audio recording and 1986 video recording ) and Riccardo Muti (1992 video recording ).

Also influential was a 1958 staging of the 1886 five-act "Modena version" in Italian by The Royal Opera company, Covent Garden, directed by Luchino Visconti and conducted by Carlo Maria Giulini. The cast included Jon Vickers as Don Carlo, Tito Gobbi as Rodrigo, Boris Christoff as King Phillip and Gré Brouwenstijn as Elizabeth. This version has increasingly been performed elsewhere and has been recorded by, among others, Georg Solti and Giulini.

After the discovery of music cut before the premiere, conductors began performing five-act versions that included some of it. In 1973 at La Fenice, Georges Prêtre conducted a 5-act version in Italian without the ballet that included the discarded woodcutters scene, the first Carlo-Rodrigo duet in a hybrid beginning with the Paris edition but ending with the Milan revision, the discarded Elisabeth-Eboli duet from Act 4, and the Paris finale. In 1975, Charles Mackerras conducted an expanded and modified five-act version (with Verdi's original prelude, the woodcutters' scene and the original Paris ending) in an English translation for English National Opera at the London Coliseum. In 1978, Claudio Abbado mounted an expanded five-act version in Italian at La Scala. The cast included Mirella Freni as Elizabeth, Elena Obraztsova and Viorica Cortez as Eboli, José Carreras in the title role, Piero Cappuccilli as Rodrigo, Nicolai Ghiaurov as King Phillip, and Evgeny Nesterenko as the Grand Inquisitor. On 5 February 1979, James Levine conducted an expanded five-act version in Italian at the Metropolitan Opera in New York. The cast included Renata Scotto as Elizabeth, Marilyn Horne as Eboli, Giuseppe Giacomini as Don Carlo, Sherrill Milnes as Rodrigo, Nicolai Ghiaurov as King Philip, and James Morris as the Grand Inquisitor.

Today, as translated into Italian and presented in four-act and five-act versions, the opera has become part of the standard repertory.

In French

Stagings and broadcasts of five-act French versions of the opera have become more frequent in the later 20th and into the 21st century. Up to 1973, these productions consisted of the revised and abridged four-act score of 1882–83 prefaced by the shortened, revised Act 1 set in Fontainebleau. A radio broadcast by ORTF in France was given in 1967 with a nearly all-French cast, with the exception of the Italian Matteo Manuguerra as Rodrigue. A five-act French version was performed at La Scala Milan in 1970.

On 22 May 1973, the Opera Company of Boston under the direction of Sarah Caldwell presented a nearly complete five-act French version which included the 21 minutes of music cut before the premiere, but not the ballet. The 1867 version was used, since the restored music does not easily fit with the 1886 revised version. The cast included John Alexander in the title role, the French-Canadian Édith Tremblay as Élisabeth, the French singer Michèle Vilma as Princess Eboli, William Dooley as Rodrigue and Donald Gramm as Philippe. According to Andrew Porter, the Boston production was "the first performance, ever, of the immense opera that Verdi prepared in 1867; and in doing so it opened a new chapter in the stage history of the piece."

The BBC Concert Orchestra under John Matheson broadcast the opera in June 1973 with the roles of Don Carlos sung by André Turp, Philippe II by Joseph Rouleau, and Rodrigue by Robert Savoie. Julian Budden comments that "this was the first complete performance of what could be called the 1866 conception in French with the addition of the ballet."

Several notable productions of five-act French versions have been mounted more recently. A five-act French version was performed by the Théâtre Royal de la Monnaie in Brussels in 1983. A co-production between the Théâtre du Châtelet in Paris and the Royal Opera in London in 1996 used Andrew Porter as a consultant and was a "judicious mixture" of music from the 1866 original and the 1883 revision. The production, staged by Luc Bondy, was also shared with the opera houses in Brussels, Nice and Lyon. The performance by the Paris cast (March 1996), was conducted by Antonio Pappano with Roberto Alagna as Don Carlos, Karita Mattila as Elisabeth, Thomas Hampson as Rodrigue, José Van Dam as Philippe II and Waltraud Meier as Eboli. It was recorded on videotape and is now available in a remastered HD video format.

A Vienna State Opera production, staged by Peter Konwitschny and performed in Vienna in October 2004, included all of the music excised during the Paris rehearsal period plus the ballet. Patrick O'Connor, writing in the Gramophone magazine, reports the ballet was "staged as 'Eboli's Dream'. She and Don Carlos are living in suburban bliss, and have Philip and Elisabeth round for a pizza, delivered by Rodrigo. Musically, the performance, apart from the Auto-da-fé scene, has a lot going for it under the direction of Bertrand de Billy." A DVD video recording is available.

On 17 September 2005 a co-production directed by John Caird of the largely uncut Paris version in French between the Welsh National Opera and the Canadian Opera Company (Toronto) was premiered by the WNO at the Wales Millennium Center. The performance was conducted by Carlo Rizzi with Nuccia Focile as Elizabeth, Paul Charles Clarke as Don Carlos, Scott Hendricks as Rodrigue, Guang Yang as Eboli, Andrea Silvestrelli as Philippe II, and Daniel Sumegi as the Grand Inquisitor. The production was taken on tour to Edinburgh, Oxford, Birmingham, Bristol, Southampton and Liverpool. It was performed by the Canadian Opera Company in Toronto in October/November 2007 with a different cast. The production was performed several times by the Houston Grand Opera from 13 April 2012 until 28 April. The Houston production was conducted by Patrick Summers with Brandon Jovanovich as Don Carlos, Tamara Wilson as Elizabeth, Andrea Silvestrelli as Philippe II, Christine Goerke as Eboli, Scott Hendricks as Rodrigue and Samuel Ramey as the Grand Inquisitor.

In 2017, the Opéra National de Paris performed the 1866 French version (before the ballet was composed) in a production staged by Krzysztof Warlikowski at the Bastille. Conducted by Philippe Jordan, the cast included Jonas Kaufmann as Don Carlos, Sonya Yoncheva as Elisabeth, Ludovic Tézier as Rodrigue, Ildar Abdrazakov as Philippe II and Elīna Garanča as Eboli. The Metropolitan Opera presented the opera in French for the first time in 2022 in the Modena version, with tenor Matthew Polenzani in the title role.

Synopsis

 * [This synopsis is based on the original five-act version composed for Paris and completed in 1866. Important changes for subsequent versions are noted in indented brackets. First lines of arias, etc., are given in French and Italian].

Act 1

 * [This act was omitted in the 1883 revision]

The Forest of Fontainebleau, France in winter

A prelude and chorus of woodcutters and their wives is heard. They complain of their hard life, made worse by war with Spain. Elisabeth, daughter of the King of France, arrives with her attendants. She reassures the people that her impending marriage to Don Carlos, Infante and son of Philip II, King of Spain, will bring the war to an end, and departs.

 * [The preceding prelude and chorus of woodcutters was cut before the Paris première and replaced by a short scene in which Elisabeth crosses the stage and hands out money to the woodcutters; she exits without singing. The prelude and chorus of woodcutters was also omitted when Act 1 was restored in the 1886 five-act Modena version.]

Carlos, coming out from hiding, has seen Elisabeth and fallen in love with her (Aria: "Je l'ai vue" / "Io la vidi"). When she reappears, he initially pretends to be a member of the Count of Lerma's delegation. She asks him about Don Carlos, whom she has not yet met. Before long, Carlos reveals his true identity and his feelings, which she reciprocates (Duet: "De quels transports poignants et doux" / "Di quale amor, di quanto ardor"). A cannon-shot signifies that peace has been declared between Spain and France. Thibault appears and gives Elisabeth the surprising news that her hand is to be claimed not by Carlos but by his father, Philip. When Lerma and his followers confirm this, Elisabeth is devastated but feels bound to accept, in order to consolidate the peace. She departs for Spain, leaving Carlos equally devastated.

Act 2

 * [This is Act 1 in the 1883 revision]

Scene 1: The monastery of Saint-Just (San Jerónimo de Yuste) in Spain

The scene takes place soon after King Philip II and Elisabeth have married. Monks pray before the tomb of the former Emperor Charles V ("Carlo Quinto"). The monks' leader proclaims that the Emperor was proud but has been humbled through error.

Don Carlos enters, anguished that the woman he loves is now his stepmother.

 * [In the 1883 revision, he sings a revised version of the aria "Je l'ai vue" / "Io la vidi", which was salvaged from the omitted first act but with some different music and different text to reflect his current situation. In the four-act version he already knows that he cannot marry Elisabeth. In the original, when singing the aria, he was still expecting to marry her]

When Carlos pauses in his lament, the leader of the monks proclaims that the turbulence of the world persists even in sacred places; we cannot rest except in Heaven. The sound of his voice frightens Carlos, who thinks it sounds like that of the Emperor Charles V. Carlos further notices that the monk physically resembles the Emperor, and recalls hearing rumors that the Emperor's ghost haunts the monastery.

Carlos' dear friend Rodrigue, Marquis of Posa, who has just arrived from the oppressed land of Flanders, enters. The two greet each other joyfully (Aria: "J'étais en Flandres").

Rodrigue asks for the Infante's aid on behalf of the suffering people there. Carlos reveals that he loves his stepmother. Rodrigue is first shocked, but then sympathetic. He encourages Carlos to leave Spain and go to Flanders, and to forget his pain by focusing on political activity there. The two men swear eternal friendship (Duet: "Dieu, tu semas dans nos âmes" / "Dio, che nell'alma infondere").

King Philip and his new wife, with their attendants, enter also to do homage at Charles V's tomb, while Don Carlos laments his lost love.

Scene 2: A garden near Saint-Just Princess Eboli sings the Veil Song ("Au palais des fées" / "Nel giardin del bello") about a Moorish King trying to seduce an alluring veiled beauty, who turns out to be his own neglected wife. Elisabeth enters. Rodrigue gives her a letter from France, which covers a secret note from Don Carlos. At his urging (Aria: "L'Infant Carlos, notre espérance" / "Carlo ch'è sol il nostro amore"), Elisabeth agrees to see the Infante alone. Unaware of this relationship, Eboli infers that she, Eboli, is the one Don Carlos loves.

When they are alone, Don Carlos tells Elisabeth that he is miserable, and asks her to request the King to send him to Flanders. She promptly agrees, provoking Carlos to renew his declarations of love, which she piously rejects. Don Carlos exits in a frenzy, shouting that he must be under a curse. The King enters and becomes angry because the Queen is alone and unattended. His suspicions are insulting to her. He orders the lady-in-waiting who was meant to be attending her, the Countess of Aremberg, to return to France, prompting Elizabeth to sing a sorrowful farewell-aria. (Aria: "Oh ma chère compagne" / "Non pianger, mia compagna").

The King now approaches Rodrigue, with whose character and activism he is impressed, and offers to reward him for his loyalty and service. Rodrigue begs the King to stop oppressing the people of Flanders. The King calls Rodrigue's idealism unrealistic and warns that the Grand Inquisitor is watching him. The King confides in Rodrigue, telling him that he fears that Carlos is having an affair with Elisabeth. Rodrigue replies that Carlos is innocent, and offers to watch Elisabeth and to be responsible for her good behavior. The King gratefully accepts this offer, and again warns Rodrigue to beware of the Grand Inquisitor.

 * [This dialogue was revised three times by Verdi.]

Act 3

 * [This is Act 2 in the 1883 revision]

Scene 1: Evening in the Queen's garden in Madrid

Elisabeth is tired, and wishes to concentrate on the following day's coronation of the King. To avoid the divertissement planned for the evening, she exchanges masks with Eboli, assuming that thereby her absence will not be noticed, and leaves.

 * [This scene was omitted from the 1883 revision]

 * [In the première, the ballet (choreographed by Lucien Petipa and entitled "La Pérégrina") took place at this point]

At midnight, Don Carlos enters, clutching a note suggesting a tryst in the gardens. Although he thinks this is from Elisabeth, it is really from Eboli. Eboli, who still thinks Don Carlos loves her, enters. Don Carlos mistakes her for Elisabeth in the dark, and passionately declares his love. When he sees Eboli's face, he realizes his error and recoils from her. Eboli guesses his secret—that he was expecting the Queen, whom he loves. She threatens to tell the King that Elisabeth and Carlos are lovers. Carlos, terrified, begs for mercy. Rodrigue enters, and warns her not to cross him; he is the King's confidant. Eboli replies by hinting darkly that she is a formidable and dangerous foe, with power which Rodrigue does not yet know about. (Her power is that she is having an affair with the King, but she does not reveal this yet.) Rodrigue draws his dagger, intending to stab her to death, but reconsiders, spares her, and declares his trust in the Lord. Eboli exits in a vengeful rage. Rodrigue advises Carlos to entrust to him any sensitive, potentially incriminating political documents that he may have and, when Carlos agrees, they reaffirm their friendship.

Scene 2: In front of the Cathedral of Valladolid

Preparations are being made for an auto-da-fé, the public parade and burning of condemned heretics. While the people celebrate, monks drag the condemned to the woodpile. A royal procession follows, and the King addresses the populace, promising to protect them with fire and sword. Don Carlos enters with six Flemish envoys, who plead with the King for their country's freedom. Although the people and the court are sympathetic, the King, supported by the monks, orders his guards to arrest the envoys. Carlos demands that the King grant him authority to govern Flanders; the King scornfully refuses. Enraged, Carlos draws his sword against the King. The King calls for help but the guards will not attack Don Carlos. Rodrigue realizes that actually attacking the King would be disastrous for Carlos. He steps forward and defuses the situation by taking Carlos' sword from him. Carlos, astonished, yields to his friend without resisting. Relieved and grateful, the King raises Rodrigue to the rank of Duke. The guards arrest Carlos, the monks fire the woodpile, and as the flames start to rise, a heavenly voice can be heard promising heavenly peace to the condemned souls.

Act 4

 * [This is Act 3 in the 1883 revision]

Scene 1: Dawn in King Philip's study in Madrid

Alone and suffering from insomnia, the King, in a reverie, laments that Elisabeth has never loved him, that his position means that he has to be eternally vigilant and that he will only sleep properly when he is in his tomb in the Escorial (Aria: "Elle ne m'aime pas" / "Ella giammai m'amò"). The blind, ninety-year-old Grand Inquisitor is announced and shuffles into the King's apartment. When the King asks if the Church will object to him putting his own son to death, the Inquisitor replies that the King will be in good company: God sacrificed His own son. In return for his support, the Inquisitor demands that the King have Rodrigue killed. The King refuses at first to kill his friend, whom he admires and likes. However, the Grand Inquisitor reminds the King that the Inquisition can take down any king; he has created and destroyed other rulers before. Frightened and overwhelmed, the King begs the Grand Inquisitor to forget about the past discussion. The latter replies "Peut-être" / "Forse!" – perhaps! – and leaves. The King bitterly muses on his helplessness to oppose the Church.

Elisabeth enters, alarmed at the apparent theft of her jewel casket. However, the King produces it and points to the portrait of Don Carlos which it contains, accusing her of adultery. She protests her innocence but, when the King threatens her, she faints. In response to his calls for help, into the chamber come Eboli and Rodrigue. Their laments of suspicion cause the King to realize that he has been wrong to suspect his wife (Quartet: "Maudit soit le soupçon infâme" / "Ah, sia maledetto, il rio sospetto" ). Aside, Rodrigue resolves to save Carlos, though it may mean his own death. Eboli feels remorse for betraying Elisabeth; the latter, recovering, expresses her despair.

 * [The quartet was revised by Verdi in 1883 and begins: "Maudit soit, maudit le soupçon infâme" / "Ah! sii maledetto, sospetto fatale". ]

Elisabeth and Eboli are left together. Eboli confesses that it was she who told the King that Elisabeth and Carlos were having an affair, for revenge against Carlos for having rejected her. This is followed by the duet "J'ai tout compris". Eboli also confesses that she herself is guilty of that which she accused the Queen, and has become the King's mistress. Elisabeth leaves, and the Count di Lerma orders Eboli to choose between exile or the convent, then leaves.

 * [At the premiere, the duet "J'ai tout compris" and Eboli's second confession, of her affair with the king, were omitted. Elisabeth orders Eboli to choose between exile or the convent immediately after Eboli's first confession. In 1883, the duet was omitted, but Eboli's second confession was reinstated in a revised version, and Elisabeth remains on stage to sing the Count di Lerma's lines. ]

Eboli, left alone, curses her own beauty and pride, and resolves to make amends by trying to save Carlos from the Inquisition (Aria: "O don fatal" / "O don fatale").

Scene 2: A prison Don Carlos has been imprisoned. Rodrigue arrives and tells Carlos that he (Rodrigue) has saved Carlos from being executed, by allowing himself (Rodrigue) to be incriminated by the politically sensitive documents which he had obtained from Carlos earlier (Aria, part 1: "C'est mon jour suprême" / "Per me giunto è il dì supremo"). A shadowy figure appears—one of the Grand Inquisitor's assassins—and shoots Rodrigue in the chest. As he dies, Rodrigue tells Carlos that Elisabeth will meet him at Saint-Just the following day. He adds that he is content to die if his friend can save Flanders and rule over a happier Spain (Aria, part 2: "Ah, je meurs, l'âme joyeuse" / "Io morrò, ma lieto in core"). At that moment, the King enters, offering his son freedom, as Rodrigue had arranged. Carlos repulses him for having murdered Rodrigue. The King sees that Rodrigue is dead and cries out in sorrow.

 * [Duet: Carlos and the King- "Qui me rendra ce mort ?" /"Chi rende a me quest'uom" It was cut before the première and, following it, Verdi authorized its optional removal. The music was later re-used by Verdi for the Lacrimosa of his Messa da Requiem of 1874]

Bells ring as Elisabeth and Eboli enter. The crowd pushes its way into the prison and threatens the King, demanding the release of Carlos. In the confusion, Eboli escapes with Carlos. The people are brave enough at first in the presence of the King, but they are terrified by the arrival of the Grand Inquisitor, and instantly obey his angry command to quiet down and pay homage to the King.

 * [After the première, some productions ended this act with the death of Rodrigue. However, in 1883 Verdi provided a much shortened version of the insurrection, as he felt that otherwise it would not be clear how Eboli had fulfilled her promise to rescue Carlos]

Act 5

 * [This is Act 4 in the 1883 revision]

The moonlit monastery of Yuste

Elisabeth kneels before the tomb of Charles V. She is committed to help Don Carlos on his way to fulfill his destiny in Flanders, but she herself longs only for death (Aria: "Toi qui sus le néant" / "Tu che le vanità"). Carlos appears and tells her that he has overcome his desire for her; he now loves her honorably, as a son loves his mother. They say a final farewell, promising to meet again in Heaven (Duet: "Au revoir dans un monde où la vie est meilleure" / "Ma lassù ci vedremo in un mondo migliore").

 * [This duet was twice revised by Verdi]

The King and the Grand Inquisitor enter, with several armed guards. The King infers that Carlos and Elisabeth have been lovers and demands that they both be immediately killed in a double sacrifice. The Inquisitor confirms that the Inquisition will do its duty. A short summary trial follows, confirming Carlos's putative culpability.

 * [The trial was omitted in 1883 and does not occur on any commercially available audio recording, although it was performed at La Scala in 1978. It was performed in Vienna in 2004 and recorded on video. ]

Carlos, cries "Ah, God will avenge me, this tribunal of blood, His hand will crush." Defending himself, Carlos retreats towards the tomb of Charles V. The gate opens, the Monk appears, draws Carlos into his arms, covers him with his coat and sings: "My son, the pains of the earth still follow us in this place, the peace your heart hopes for is found only with God." The King and the Inquisitor recognize the Monk's voice: he is the King's father, Charles V, who was believed dead. As the curtain slowly falls, the Monk leads the distraught Carlos into the cloister to the chanting of monks in the chapel that "Charles V, the august Emperor is naught but ash and dust." The opera concludes softly with pianissimo chords and tremolos played by the strings.

 * [The ending was revised in 1883, with the Monk singing a tone higher. The score explicitly indicates he is Charles V with royal robe and crown, and the chanting of the monks is no longer sung, but "thundered out as a brass chorale." ]

Instrumentation
Except as noted, the instrumentation shown here is from the Edizione integrale, second edition, edited by Ursula Günther.
 * Woodwinds: 3 flutes, piccolo, 2 oboes, English horn, 2 clarinets, 4 bassoons, contrabassoon
 * Brass: 4 horns, 2 cornets, 2 trumpets, 3 trombones, ophicleide
 * Percussion: timpani, bass drum, triangle, bells, cannon, tambourine, castanets
 * Other: harp, harmonium
 * Stage band: Offstage horns (left and right) in E-flat and B-flat, D clarinet, 2 clarinets in A, 2 flugelhorns, 2 trumpets in D, 4 horns in D, 2 tubas, 2 trombones, 2 bass tubas
 * Strings: violins, violas, cellos, double basses

title: Don Carlos


text:
Spacecraft

A spacecraft is a vehicle that is designed to fly and operate in outer space. Spacecraft are used for a variety of purposes, including communications, Earth observation, meteorology, navigation, space colonization, planetary exploration, and transportation of humans and cargo. All spacecraft except single-stage-to-orbit vehicles cannot get into space on their own, and require a launch vehicle (carrier rocket).

On a sub-orbital spaceflight, a space vehicle enters space and then returns to the surface without having gained sufficient energy or velocity to make a full Earth orbit. For orbital spaceflights, spacecraft enter closed orbits around the Earth or around other celestial bodies. Spacecraft used for human spaceflight carry people on board as crew or passengers from start or on orbit (space stations) only, whereas those used for robotic space missions operate either autonomously or telerobotically. Robotic spacecraft used to support scientific research are space probes. Robotic spacecraft that remain in orbit around a planetary body are artificial satellites. To date, only a handful of interstellar probes, such as Pioneer 10 and 11, Voyager 1 and 2, and New Horizons,are on trajectories that leave the Solar System.

Orbital spacecraft may be recoverable or not. Most are not. Recoverable spacecraft may be subdivided by a method of reentry to Earth into non-winged space capsules and winged spaceplanes. Recoverable spacecraft may be reusable (can be launched again or several times, like the SpaceX Dragon and the Space Shuttle orbiters) or expendable (like the Soyuz). In recent years, more space agencies are tending towards reusable spacecraft.

Humanity has achieved space flight, but only a few nations have the technology for orbital launches: Russia (Roscosmos ), the United States (NASA ), the member states of the European Space Agency, Japan (JAXA ), China (CNSA ), India (ISRO ), Taiwan (NSPO  ), Israel (ISA), Iran (ISA), and North Korea (NADA). In addition, several private companies have developed or are developing the technology for orbital launches independently from government agencies. The most prominent examples of such companies are SpaceX and Blue Origin.

History

A German V-2 became the first spacecraft when it reached an altitude of 189 km in June 1944 in Peenemünde, Germany. Sputnik 1 was the first artificial satellite. It was launched into an elliptical low Earth orbit (LEO) by the Soviet Union on 4 October 1957. The launch ushered in new political, military, technological, and scientific developments; while the Sputnik launch was a single event, it marked the start of the Space Age. Apart from its value as a technological first, Sputnik 1 also helped to identify the upper atmospheric layer's density, by measuring the satellite's orbital changes. It also provided data on radio-signal distribution in the ionosphere. Pressurized nitrogen in the satellite's false body provided the first opportunity for meteoroid detection. Sputnik 1 was launched during the International Geophysical Year from Site No.1/5, at the 5th Tyuratam range, in Kazakh SSR (now at the Baikonur Cosmodrome). The satellite travelled at 29,000 kph, taking 96.2 minutes to complete an orbit, and emitted radio signals at 20.005 and 40.002 MHz

While Sputnik 1 was the first spacecraft to orbit the Earth, other human-made objects had previously reached an altitude of 100 km, which is the height required by the international organization Fédération Aéronautique Internationale to count as a spaceflight. This altitude is called the Kármán line. In particular, in the 1940s there were several test launches of the V-2 rocket, some of which reached altitudes well over 100 km.

Crewed spacecraft
As of 2016, only three nations have flown crewed spacecraft: USSR/Russia, USA, and China. The first crewed spacecraft was Vostok 1, which carried Soviet cosmonaut Yuri Gagarin into space in 1961, and completed a full Earth orbit. There were five other crewed missions which used a Vostok spacecraft. The second crewed spacecraft was named Freedom 7, and it performed a sub-orbital spaceflight in 1961 carrying American astronaut Alan Shepard to an altitude of just over 187 km. There were five other crewed missions using Mercury spacecraft.

Other Soviet crewed spacecraft include the Voskhod, Soyuz, flown uncrewed as Zond/L1, L3, TKS, and the Salyut and Mir crewed space stations. Other American crewed spacecraft include the Gemini spacecraft, the Apollo spacecraft including the Apollo Lunar Module, the Skylab space station, the Space Shuttle with undetached European Spacelab and private US Spacehab space stations-modules, and the SpaceX Crew Dragon configuration of their Dragon 2. US company Boeing also developed and flown a spacecraft of their own, the CST-100, commonly referred to as Starliner, but a crewed flight is yet to occur. China developed, but did not fly Shuguang, and is currently using Shenzhou (its first crewed mission was in 2003).

Except for the Space Shuttle and the Buran spaceplane of the Soviet Union, the latter of which only ever had one uncrewed test flight, all of the recoverable crewed orbital spacecraft were space capsules.

The International Space Station, crewed since November 2000, is a joint venture between Russia, the United States, Canada and several other countries.

Uncrewed spacecraft

Uncrewed spacecraft are spacecraft without people on board. Uncrewed spacecraft may have varying levels of autonomy from human input; they may be remote controlled, remote guided or even autonomous, meaning they have a pre-programmed list of operations, which they will execute unless otherwise instructed.

Many space missions are more suited to telerobotic rather than crewed operation, due to lower cost and lower risk factors. In addition, some planetary destinations such as Venus or the vicinity of Jupiter are too hostile for human survival. Outer planets such as Saturn, Uranus, and Neptune are too distant to reach with current crewed spaceflight technology, so telerobotic probes are the only way to explore them. Telerobotics also allows exploration of regions that are vulnerable to contamination by Earth micro-organisms since spacecraft can be sterilized. Humans can not be sterilized in the same way as a spaceship, as they coexist with numerous micro-organisms, and these micro-organisms are also hard to contain within a spaceship or spacesuit. Multiple space probes were sent to study Moon, the planets, the Sun, multiple small Solar System bodies (comets and asteroids).

Special class of uncrewed spacecraft is space telescopes, a telescope in outer space used to observe astronomical objects. The first operational telescopes were the American Orbiting Astronomical Observatory, OAO-2 launched in 1968, and the Soviet Orion 1 ultraviolet telescope aboard space station Salyut 1 in 1971. Space telescopes avoid the filtering and distortion (scintillation) of electromagnetic radiation which they observe, and avoid light pollution which ground-based observatories encounter. The best-known examples are Hubble Space Telescope and James Webb Space Telescope.

Cargo spacecraft are designed to carry cargo, possibly to support space stations' operation by transporting food, propellant and other supplies. Automated cargo spacecraft have been used since 1978 and have serviced Salyut 6, Salyut 7, Mir, the International Space Station and Tiangong space station.

Other
Some spacecrafts can operate as both a crewed and uncrewed spacecraft. For example, the Buran spaceplane could operate autonomously but also had manual controls, though it never flew with crew onboard.

Other dual crewed/uncrewed spacecrafts include: SpaceX Dragon 2, Dream Chaser,  and Tianzhou.

Communications satellite
A communications satellite is an artificial satellite that relays and amplifies radio telecommunication signals via a transponder; it creates a communication channel between a source transmitter and a receiver at different locations on Earth. Communications satellites are used for television, telephone, radio, internet, and military applications. Many communications satellites are in geostationary orbit 22,300 mi above the equator, so that the satellite appears stationary at the same point in the sky; therefore the satellite dish antennas of ground stations can be aimed permanently at that spot and do not have to move to track the satellite. Others form satellite constellations in low Earth orbit, where antennas on the ground have to follow the position of the satellites and switch between satellites frequently.

The high frequency radio waves used for telecommunications links travel by line of sight and so are obstructed by the curve of the Earth. The purpose of communications satellites is to relay the signal around the curve of the Earth allowing communication between widely separated geographical points. Communications satellites use a wide range of radio and microwave frequencies. To avoid signal interference, international organizations have regulations for which frequency ranges or "bands" certain organizations are allowed to use. This allocation of bands minimizes the risk of signal interference.

Cargo spacecraft
Cargo or resupply spacecraft are robotic spacecraft that are designed specifically to carry cargo, possibly to support space stations' operation by transporting food, propellant and other supplies.

Automated cargo spacecraft have been used since 1978 and have serviced Salyut 6, Salyut 7, Mir, the International Space Station and Tiangong space station.

As of 2023, three different cargo spacecraft are used to supply the International Space Station: Russian Progress, American SpaceX Dragon 2 and Cygnus. Chinese Tianzhou is used to supply Tiangong space station.

Space probes
Space probes are robotic spacecraft that are sent to explore deep space, or astronomical bodies other than Earth. They are distinguished from landers by the fact that they work in open space, not on planetary surfaces or in planetary atmospheres. Being robotic eliminates the need for expensive, heavy life support systems (the Apollo crewed Moon landings required the use of the Saturn V rocket that cost over a billion dollars per launch, adjusted for inflation) and so allows for lighter, less expensive rockets. Space probes have visited every planet in the Solar System and Pluto, and the Parker Solar Probe has an orbit that, at its closest point, is in the Sun's chromosphere. There are five space probes that are escaping the Solar System, these are Voyager 1, Voyager 2, Pioneer 10, Pioneer 11, and New Horizons.

Voyager program
The identical Voyager probes, weighing 721.9 kg, were launched in 1977 to take advantage of a rare alignment of Jupiter, Saturn, Uranus and Neptune that would allow a spacecraft to visit all four planets in one mission, and get to each destination faster by using gravity assist. In fact, the rocket that launched the probes (the Titan IIIE) could not even send the probes to the orbit of Saturn, yet Voyager 1 is travelling at roughly 17 km/s and Voyager 2 moves at about 15 km/s kilometres per second as of 2023. In 2012, Voyager 1 exited the heliosphere, followed by Voyager 2 in 2018. Voyager 1 actually launched 16 days after Voyager 2 but it reached Jupiter sooner because Voyager 2 was taking a longer route that allowed it to visit Uranus and Neptune, whereas Voyager 1 did not visit Uranus or Neptune, instead choosing to fly past Saturn’s satellite Titan. As of August 2023, Voyager 1 has passed 160 astronomical units, which means it is over 160 times farther from the Sun than Earth is. This makes it the farthest spacecraft from the Sun. Voyager 2 is 134 AU away from the Sun as of August 2023. NASA provides real time data of their distances and data from the probe’s cosmic ray detectors. Because of the probe’s declining power output and degradation of the RTGs over time, NASA has had to shut down certain instruments to conserve power. The probes may still have some scientific instruments on until the mid-2020s or perhaps the 2030s. After 2036, they will both be out of range of the Deep Space Network.

Space telescopes
A space telescope or space observatory is a telescope in outer space used to observe astronomical objects. Space telescopes avoid the filtering and distortion of electromagnetic radiation which they observe, and avoid light pollution which ground-based observatories encounter. They are divided into two types: satellites which map the entire sky (astronomical survey), and satellites which focus on selected astronomical objects or parts of the sky and beyond. Space telescopes are distinct from Earth imaging satellites, which point toward Earth for satellite imaging, applied for weather analysis, espionage, and other types of information gathering.

Landers
A lander is a type of spacecraft that makes a soft landing on the surface of an astronomical body other than Earth. Some landers, such as Philae and the Apollo Lunar Module, land entirely by using their fuel supply, however many landers (and landings of spacecraft on Earth) use aerobraking, especially for more distant destinations. This involves the spacecraft using a fuel burn to change its trajectory so it will pass through a planet (or a moon's) atmosphere. Drag caused by the spacecraft hitting the atmosphere enables it to slow down without using fuel, however this generates very high temperatures and so adds a requirement for a heat shield of some sort.

Space capsules
Space capsules are a type of spacecraft that can return from space at least once. They have a blunt shape, do not usually contain much more fuel than needed, and they do not possess wings unlike spaceplanes. They are the simplest form of recoverable spacecraft, and so the most commonly used. The first such capsule was the Vostok capsule built by the Soviet Union, that carried the first person in space, Yuri Gagarin. Other examples include the Soyuz and Orion capsules, built by the Soviet Union and NASA, respectively.

Spaceplanes
Spaceplanes are spacecraft that are built in the shape of, and function as, airplanes. The first example of such was the North American X-15 spaceplane, which conducted two crewed flights which reached an altitude of over 100 km in the 1960s. This first reusable spacecraft was air-launched on a suborbital trajectory on July 19, 1963.

The first reusable orbital spaceplane was the Space Shuttle orbiter. The first orbiter to fly in space, the Space Shuttle Columbia, was launched by the USA on the 20th anniversary of Yuri Gagarin's flight, on April 12, 1981. During the Shuttle era, six orbiters were built, all of which have flown in the atmosphere and five of which have flown in space. Enterprise was used only for approach and landing tests, launching from the back of a Boeing 747 SCA and gliding to deadstick landings at Edwards AFB, California. The first Space Shuttle to fly into space was Columbia, followed by Challenger, Discovery, Atlantis, and Endeavour. Endeavour was built to replace Challenger when it was lost in January 1986. Columbia broke up during reentry in February 2003.

The first autonomous reusable spaceplane was the Buran-class shuttle, launched by the USSR on November 15, 1988, although it made only one flight and this was uncrewed. This spaceplane was designed for a crew and strongly resembled the U.S. Space Shuttle, although its drop-off boosters used liquid propellants and its main engines were located at the base of what would be the external tank in the American Shuttle. Lack of funding, complicated by the dissolution of the USSR, prevented any further flights of Buran. The Space Shuttle was subsequently modified to allow for autonomous re-entry in case of necessity.

Per the Vision for Space Exploration, the Space Shuttle was retired in 2011 mainly due to its old age and high cost of program reaching over a billion dollars per flight. The Shuttle's human transport role is to be replaced by SpaceX's SpaceX Dragon 2 and Boeing's CST-100 Starliner. Dragon 2's first crewed flight occurred on May 30, 2020. The Shuttle's heavy cargo transport role is to be replaced by expendable rockets such as the Space Launch System and ULA's Vulcan rocket, as well as the commercial launch vehicles.

Scaled Composites' SpaceShipOne was a reusable suborbital spaceplane that carried pilots Mike Melvill and Brian Binnie on consecutive flights in 2004 to win the Ansari X Prize. The Spaceship Company built a successor SpaceShipTwo. A fleet of SpaceShipTwos operated by Virgin Galactic was planned to begin reusable private spaceflight carrying paying passengers in 2014, but was delayed after the crash of VSS Enterprise.

Space Shuttle
The Space Shuttle is a retired reusable Low Earth Orbital launch system. It consisted of two reusable Solid Rocket Boosters that landed by parachute, were recovered at sea, and were the most powerful rocket motors ever made until they were superseded by those of NASA’s SLS rocket, with a liftoff thrust of 2,800,000 lbf, which soon increased to 3,300,000 lbf per booster, and were fueled by a combination of PBAN and APCP, the Space Shuttle Orbiter, with 3 RS-25 engines that used a liquid oxygen/liquid hydrogen propellant combination, and the bright orange throwaway Space Shuttle external tank from which the RS-25 engines sourced their fuel. The orbiter was a spaceplane that was launched at NASA’s Kennedy Space Centre and landed mainly at the Shuttle Landing Facility, which is part of Kennedy Space Centre. A second launch site, Vandenberg Space Launch Complex 6 in California, was revamped so it could be used to launch the shuttles, but it was never used. The launch system could lift about 29 tonnes into an eastward Low Earth Orbit. Each orbiter weighed roughly 78 tonnes, however the different orbiters had differing weights and thus payloads, with Columbia being the heaviest orbiter, Challenger being lighter than Columbia but still heavier than the other three. The orbiter structure was mostly composed of aluminium alloy. The orbiter had seven seats for crew members, though on STS-61-A the launch took place with 8 crew onboard. The orbiters had 4.6 m wide by 18 m long payload bays and also were equipped with a 15.2 m CanadaArm1, an upgraded version of which is used on the International Space Station. The heat shield (or Thermal Protection System) of the orbiter, used to protect it from extreme levels of heat during atmospheric reentry and the cold of space, was made up of different materials depending on weight and how much heating a particular area on the shuttle would receive during reentry, which ranged from over 1600 C to under 370 C. The orbiter was manually operated, though an autonomous landing system was added while the shuttle was still on service. It had an in orbit maneouvreing system known as the Orbital Manoeuvring System, which used the hypergolic propellants monomethylhydrazine (MMH) and dinitrogen tetroxide, which was used for orbital insertion, changes to orbits and the deorbit burn.

Though the shuttle’s goals were to drastically decrease launch costs, it did not do so, ending up being much more expensive than similar expendable launchers. This was due to expensive refurbishment costs and the external tank being expended. Once a landing had occurred, the SRBs and many parts of the orbiter had to be disassembled for inspection, which was long and arduous. Furthermore, the RS-25 engines had to be replaced every few flights. Each of the heat shielding tiles had to go in one specific area on the orbiter, increasing complexity more. Adding to this, the shuttle was a rather dangerous system, with fragile heat shielding tiles, some being so fragile that one could easily scrape it off by hand, often having been damaged in many flights. After 30 years in service from 1981 to 2011 and 135 flights, the shuttle was retired from service due to the cost of maintaining the shuttles, and the 3 remaining orbiters (the other two were destroyed in accidents) were prepared to be displayed in museums.

Other
Some spacecraft do not fit particularly well into any of the general spacecraft categories. This is a list of these spacecraft.

SpaceX Starship
Starship is a spacecraft and second stage under development by American aerospace company SpaceX. Stacked atop its booster, Super Heavy, it composes the identically named Starship super heavy-lift space vehicle. The spacecraft is designed to transport both crew and cargo to a variety of destinations, including Earth orbit, the Moon, Mars, and potentially beyond. It is intended to enable long duration interplanetary flights for a crew of up to 100 people. It will also be capable of point-to-point transport on Earth, enabling travel to anywhere in the world in less than an hour. Furthermore, the spacecraft will be used to refuel other Starship vehicles to allow them to reach higher orbits to and other space destinations. Elon Musk, the CEO of SpaceX, estimated in a tweet that 8 launches would be needed to completely refuel a Starship in low Earth orbit, extrapolating this from Starship's payload to orbit and how much fuel a fully fueled Starship contains. To land on bodies without an atmosphere, such as the Moon, Starship will fire its engines and thrusters to slow down.

Mission Extension Vehicle
The Mission Extension Vehicle is a robotic spacecraft designed to prolong the life on another spacecraft. It works by docking to its target spacecraft, then correcting its orientation or orbit. This also allows it to rescue a satellite which is in the wrong orbit by using its own fuel to move its target to the correct orbit. The project is currently managed by Northrop Grumman Innovation Systems. As of 2023, 2 have been launched. The first launched on a Proton rocket on 9 October 2019, and did a rendezvous with Intelsat-901 on 25 February 2020. It will remain with the satellite until 2025 before the satellite is moved to a final graveyard orbit and the vehicle does a rendezvous with another satellite. The other one launched on an Ariane 5 rocket on 15 August 2020.

Subsystems
A spacecraft astrionics system comprises different subsystems, depending on the mission profile. Spacecraft subsystems are mounted in the satellite bus and may include attitude determination and control (variously called ADAC, ADC, or ACS), guidance, navigation and control (GNC or GN&C), communications (comms), command and data handling (CDH or C&DH), power (EPS), thermal control (TCS), propulsion, and structures. Attached to the bus are typically payloads.

 * Life support
 * Spacecraft intended for human spaceflight must also include a life support system for the crew.

 * Attitude control
 * A spacecraft needs an attitude control subsystem to be correctly oriented in space and respond to external torques and forces properly. This may use reaction wheels or it may use small rocket thrusters. The altitude control subsystem consists of sensors and actuators, together with controlling algorithms. The attitude-control subsystem permits proper pointing for the science objective, sun pointing for power to the solar arrays and earth pointing for communications.

 * GNC
 * Guidance refers to the calculation of the commands (usually done by the CDH subsystem) needed to steer the spacecraft where it is desired to be. Navigation means determining a spacecraft's orbital elements or position. Control means adjusting the path of the spacecraft to meet mission requirements.

 * Command and data handling
 * The C&DH subsystem receives commands from the communications subsystem, performs validation and decoding of the commands, and distributes the commands to the appropriate spacecraft subsystems and components. The CDH also receives housekeeping data and science data from the other spacecraft subsystems and components, and packages the data for storage on a data recorder or transmission to the ground via the communications subsystem. Other functions of the CDH include maintaining the spacecraft clock and state-of-health monitoring.

 * Communications
 * Spacecraft, both robotic and crewed, have various communications systems for communication with terrestrial stations and for inter-satellite service. Technologies include space radio station and optical communication.  In addition, some spacecraft payloads are explicitly for the purpose of ground–ground communication using receiver/retransmitter electronic technologies.

 * Power
 * Spacecraft need an electrical power generation and distribution subsystem for powering the various spacecraft subsystems. For spacecraft near the Sun, solar panels are frequently used to generate electrical power. Spacecraft designed to operate in more distant locations, for example Jupiter, might employ a radioisotope thermoelectric generator (RTG) to generate electrical power. Electrical power is sent through power conditioning equipment before it passes through a power distribution unit over an electrical bus to other spacecraft components. Batteries are typically connected to the bus via a battery charge regulator, and the batteries are used to provide electrical power during periods when primary power is not available, for example when a low Earth orbit spacecraft is eclipsed by Earth.

 * Thermal control
 * Spacecraft must be engineered to withstand transit through Earth's atmosphere and the space environment. They must operate in a vacuum with temperatures potentially ranging across hundreds of degrees Celsius as well as (if subject to reentry) in the presence of plasmas. Material requirements are such that either high melting temperature, low density materials such as beryllium and reinforced carbon–carbon or (possibly due to the lower thickness requirements despite its high density) tungsten or ablative carbon–carbon composites are used. Depending on mission profile, spacecraft may also need to operate on the surface of another planetary body. The thermal control subsystem can be passive, dependent on the selection of materials with specific radiative properties. Active thermal control makes use of electrical heaters and certain actuators such as louvers to control temperature ranges of equipments within specific ranges.

 * Spacecraft propulsion
 * Spacecraft may or may not have a propulsion subsystem, depending on whether or not the mission profile calls for propulsion. The Swift spacecraft is an example of a spacecraft that does not have a propulsion subsystem. Typically though, LEO spacecraft include a propulsion subsystem for altitude adjustments (drag make-up maneuvers) and inclination adjustment maneuvers. A propulsion system is also needed for spacecraft that perform momentum management maneuvers. Components of a conventional propulsion subsystem include fuel, tankage, valves, pipes, and thrusters. The thermal control system interfaces with the propulsion subsystem by monitoring the temperature of those components, and by preheating tanks and thrusters in preparation for a spacecraft maneuver.

 * Structures
 * Spacecraft must be engineered to withstand launch loads imparted by the launch vehicle, and must have a point of attachment for all the other subsystems. Depending on mission profile, the structural subsystem might need to withstand loads imparted by entry into the atmosphere of another planetary body, and landing on the surface of another planetary body.

 * Payload
 * The payload depends on the mission of the spacecraft, and is typically regarded as the part of the spacecraft "that pays the bills". Typical payloads could include scientific instruments (cameras, telescopes, or particle detectors, for example), cargo, or a human crew.

 * Ground segment

 * The ground segment, though not technically part of the spacecraft, is vital to the operation of the spacecraft. Typical components of a ground segment in use during normal operations include a mission operations facility where the flight operations team conducts the operations of the spacecraft, a data processing and storage facility, ground stations to radiate signals to and receive signals from the spacecraft, and a voice and data communications network to connect all mission elements.

 * Launch vehicle
 * The launch vehicle propels the spacecraft from Earth's surface, through the atmosphere, and into an orbit, the exact orbit being dependent on the mission configuration. The launch vehicle may be expendable or reusable. In a single stage to orbit rocket, the rocket can be considered a spacecraft itself.

Fastest spacecraft

 * Parker Solar Probe (estimated 343,000 km/h at first sun close pass, will reach 700000 km/h at final perihelion)
 * Helios I and II Solar Probes (252792 km/h)

Furthest spacecraft from the Sun

 * Voyager 1 at 156.13 AU as of April 2022, traveling outward at about 3.58 AU/yr
 * Pioneer 10 at 122.48 AU as of December 2018, traveling outward at about 2.52 AU/yr
 * Voyager 2 at 122.82 AU as of January 2020, traveling outward at about 3.24 AU/yr
 * Pioneer 11 at 101.17 AU as of December 2018, traveling outward at about 2.37 AU/yr

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Spacecraft


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Escape velocity

In celestial mechanics, escape velocity or escape speed is the minimum speed needed for an object to escape from contact with or orbit of a primary body, assuming:
 * Ballistic trajectory - no other forces are acting on the object, including propulsion and friction
 * No other gravity-producing objects exist

Although the term escape velocity is common, it is more accurately described as a speed than a velocity because it is independent of direction. Because gravitational force between two objects depends on their combined mass, the escape speed also depends on mass. For artificial satellites and small natural objects, the mass of the object makes a negligible contribution to the combined mass, and so is often ignored.

Escape speed varies with distance from the center of the primary body, as does the velocity of an object traveling under the gravitational influence of the primary. If an object is in a circular or elliptical orbit, its speed is always less than the escape speed at its current distance. In contrast if it is on a hyperbolic trajectory its speed will always be higher than the escape speed at its current distance. (It will slow down as it gets to greater distance, but do so asymptotically approaching a positive speed.) An object on a parabolic trajectory will always be traveling exactly the escape speed at its current distance. It has precisely balanced positive kinetic energy and negative gravitational potential energy; it will always be slowing down, asymptotically approaching zero speed, but never quite stop.

Escape velocity calculations are typically used to determine whether an object will remain in the gravitational sphere of influence of a given body. For example, in solar system exploration it is useful to know whether a probe will continue to orbit the Earth or escape to a heliocentric orbit. It is also useful to know how much a probe will need to slow down in order to be gravitationally captured by its destination body. Rockets do not have to reach escape velocity in a single maneuver, and objects can also use a gravity assist to siphon kinetic energy away from large bodies.

Precise trajectory calculations require taking into account small forces like atmospheric drag, radiation pressure, and solar wind. A rocket under continuous or intermittent thrust (or an object climbing a space elevator) can attain escape at any non-zero speed, but the minimum amount of energy required to do so is always the same.

Calculation
Escape speed at a distance d from the center of a spherically symmetric primary body (such as a star or a planet) with mass M is given by the formula
 * $$v_e = \sqrt{\frac{2GM}{d}} = \sqrt{2gd}$$

where:
 * G is the universal gravitational constant (G ≈ 6.67×10$−11$ m$3$·kg$−1$·s$−2$)
 * g = GM/d2 is the local gravitational acceleration (or the surface gravity, when d = r).

The value GM is called the standard gravitational parameter, or μ, and is often known more accurately than either G or M separately.

When given an initial speed $$V$$ greater than the escape speed $$v_e,$$ the object will asymptotically approach the hyperbolic excess speed $$v_{\infty},$$ satisfying the equation:
 * $${v_\infty}^2 = V^2 - {v_e}^2 .$$

Earth
For example, at the Earth's surface, the surface gravity is about 9.8 m/s$2$ (9.8 N/kg, 32 ft/s$2$), and the escape speed for a small object is about 11.186 km/s. This is approximately 33 times the speed of sound (Mach 33) and several times the muzzle velocity of a rifle bullet (up to 1.7 km/s). At 9,000 km altitude, escape speed is slightly less than 7.1 km/s. These velocities are relative to a non-rotating frame of reference; launching near the equator rather than the poles can actually provide a boost.

In this context, when taking Earth as the primary body, escape velocity is sometimes called "second cosmic velocity"

Energy required
For an object of mass $$m$$ the energy required to escape the Earth's gravitational field is GMm / r, a function of the object's mass (where r is radius of the Earth, nominally 6,371 kilometres (3,959 mi), G is the gravitational constant, and M is the mass of the Earth, ). A related quantity is the specific orbital energy which is essentially the sum of the kinetic and potential energy divided by the mass. An object has reached escape velocity when the specific orbital energy is greater than or equal to zero.

Conservation of energy

The existence of escape velocity can be thought of as a consequence of conservation of energy and an energy field of finite depth. For an object with a given total energy, which is moving subject to conservative forces (such as a static gravity field) it is only possible for the object to reach combinations of locations and speeds which have that total energy; places which have a higher potential energy than this cannot be reached at all. Adding speed (kinetic energy) to an object expands the region of locations it can reach, until, with enough energy, everywhere to infinity becomes accessible.

The formula for escape velocity can be derived from the principle of conservation of energy. For the sake of simplicity, unless stated otherwise, we assume that an object will escape the gravitational field of a uniform spherical planet by moving away from it and that the only significant force acting on the moving object is the planet's gravity. Imagine that a spaceship of mass m is initially at a distance r from the center of mass of the planet, whose mass is M, and its initial speed is equal to its escape velocity, $$v_e$$. At its final state, it will be an infinite distance away from the planet, and its speed will be negligibly small. Kinetic energy K and gravitational potential energy Ug are the only types of energy that we will deal with (we will ignore the drag of the atmosphere), so by the conservation of energy,

 * $$(K + U_g)_\text{initial} = (K + U_g)_\text{final}$$

We can set Kfinal = 0 because final velocity is arbitrarily small, and Ugfinal = 0 because final gravitational potential energy is defined to be zero a long distance away from a planet, so

 * $$\begin{align}

\Rightarrow {} &\frac{1}{2}mv_e^2 + \frac{-GMm}{r} = 0 + 0 \\[3pt] \Rightarrow {} &v_e = \sqrt{\frac{2GM}{r}} \end{align}$$

Relativistic
The same result is obtained by a relativistic calculation, in which case the variable r represents the radial coordinate or reduced circumference of the Schwarzschild metric.

From the surface of a body
An alternative expression for the escape velocity $$v_e$$ particularly useful at the surface on the body is:
 * $$v_e = \sqrt{2gr\,}$$

where r is the distance between the center of the body and the point at which escape velocity is being calculated and g is the gravitational acceleration at that distance (i.e., the surface gravity).

For a body with a spherically symmetric distribution of mass, the escape velocity $$v_e$$ from the surface is proportional to the radius assuming constant density, and proportional to the square root of the average density ρ.
 * $$v_e = Kr\sqrt\rho$$

where $K = \sqrt{\frac{8}{3} \pi G} \approx 2.364\times 10^{-5} \text{ m}^{1.5} \text{ kg}^{-0.5} \text{ s}^{-1} $

This escape velocity is relative to a non-rotating frame of reference, not relative to the moving surface of the planet or moon, as explained below.

From a rotating body
The escape velocity relative to the surface of a rotating body depends on direction in which the escaping body travels. For example, as the Earth's rotational velocity is 465 m/s at the equator, a rocket launched tangentially from the Earth's equator to the east requires an initial velocity of about 10.735 km/s relative to the moving surface at the point of launch to escape whereas a rocket launched tangentially from the Earth's equator to the west requires an initial velocity of about 11.665 km/s relative to that moving surface. The surface velocity decreases with the cosine of the geographic latitude, so space launch facilities are often located as close to the equator as feasible, e.g. the American Cape Canaveral (latitude 28°28′ N) and the French Guiana Space Centre (latitude 5°14′ N).

Practical considerations
In most situations it is impractical to achieve escape velocity almost instantly, because of the acceleration implied, and also because if there is an atmosphere, the hypersonic speeds involved (on Earth a speed of 11.2 km/s, or 40,320 km/h) would cause most objects to burn up due to aerodynamic heating or be torn apart by atmospheric drag. For an actual escape orbit, a spacecraft will accelerate steadily out of the atmosphere until it reaches the escape velocity appropriate for its altitude (which will be less than on the surface). In many cases, the spacecraft may be first placed in a parking orbit (e.g. a low Earth orbit at 160–2,000 km) and then accelerated to the escape velocity at that altitude, which will be slightly lower (about 11.0 km/s at a low Earth orbit of 200 km). The required additional change in speed, however, is far less because the spacecraft already has a significant orbital speed (in low Earth orbit speed is approximately 7.8 km/s, or 28,080 km/h).

From an orbiting body
The escape velocity at a given height is $$\sqrt 2$$ times the speed in a circular orbit at the same height, (compare this with the velocity equation in circular orbit). This corresponds to the fact that the potential energy with respect to infinity of an object in such an orbit is minus two times its kinetic energy, while to escape the sum of potential and kinetic energy needs to be at least zero. The velocity corresponding to the circular orbit is sometimes called the first cosmic velocity, whereas in this context the escape velocity is referred to as the second cosmic velocity.

For a body in an elliptical orbit wishing to accelerate to an escape orbit the required speed will vary, and will be greatest at periapsis when the body is closest to the central body. However, the orbital speed of the body will also be at its highest at this point, and the change in velocity required will be at its lowest, as explained by the Oberth effect.

Barycentric escape velocity
Escape velocity can either be measured as relative to the other, central body or relative to center of mass or barycenter of the system of bodies. Thus for systems of two bodies, the term escape velocity can be ambiguous, but it is usually intended to mean the barycentric escape velocity of the less massive body. Escape velocity usually refers to the escape velocity of zero mass test particles. For zero mass test particles we have that the 'relative to the other' and the 'barycentric' escape velocities are the same, namely $$v_e = \sqrt{\frac{2GM}{d}} $$.

But when we can't neglect the smaller mass (say $$m$$) we arrive at slightly different formulas.

Because the system has to obey the law of conservation of momentum we see that both the larger and the smaller mass must be accelerated in the gravitational field. Relative to the center of mass the velocity of the larger mass ($$v_p$$, for planet) can be expressed in terms of the velocity of the smaller mass ($$v_r$$, for rocket). We get $$v_p=-\frac{m}{M}v_r$$.

The 'barycentric' escape velocity now becomes : $$v_r=\sqrt{\frac{2GM^2}{d(M+m)}} \approx \sqrt{\frac{2GM}{d}}$$ while the 'relative to the other' escape velocity becomes : $$ v_r -v_p=\sqrt{\frac{2G(m+M)}{d}} \approx \sqrt{\frac{2GM}{d}}$$.

Height of lower-velocity trajectories
Ignoring all factors other than the gravitational force between the body and the object, an object projected vertically at speed $$v$$ from the surface of a spherical body with escape velocity $$v_e$$ and radius $$R$$ will attain a maximum height $$h$$ satisfying the equation

 * $$v = v_e \sqrt{\frac{h}{R+h}} \ ,$$

which, solving for h results in
 * $$h = \frac{x^2}{1-x^2} \ R \ ,$$

where $x = v/v_e$ is the ratio of the original speed $$v$$ to the escape velocity $$v_e.$$

Unlike escape velocity, the direction (vertically up) is important to achieve maximum height.

Trajectory
If an object attains exactly escape velocity, but is not directed straight away from the planet, then it will follow a curved path or trajectory. Although this trajectory does not form a closed shape, it can be referred to as an orbit. Assuming that gravity is the only significant force in the system, this object's speed at any point in the trajectory will be equal to the escape velocity at that point due to the conservation of energy, its total energy must always be 0, which implies that it always has escape velocity; see the derivation above. The shape of the trajectory will be a parabola whose focus is located at the center of mass of the planet. An actual escape requires a course with a trajectory that does not intersect with the planet, or its atmosphere, since this would cause the object to crash. When moving away from the source, this path is called an escape orbit. Escape orbits are known as C3 = 0 orbits. C3 is the characteristic energy, = −GM/2a, where a is the semi-major axis, which is infinite for parabolic trajectories.

If the body has a velocity greater than escape velocity then its path will form a hyperbolic trajectory and it will have an excess hyperbolic velocity, equivalent to the extra energy the body has. A relatively small extra delta-v above that needed to accelerate to the escape speed can result in a relatively large speed at infinity. Some orbital manoeuvres make use of this fact. For example, at a place where escape speed is 11.2 km/s, the addition of 0.4 km/s yields a hyperbolic excess speed of 3.02 km/s:
 * $$v_\infty = \sqrt{ V^2 - {v_e}^2 } = \sqrt{ (11.6 \text{ km/s})^2 - (11.2 \text{ km/s})^2 } \approx 3.02 \text{ km/s}.$$

If a body in circular orbit (or at the periapsis of an elliptical orbit) accelerates along its direction of travel to escape velocity, the point of acceleration will form the periapsis of the escape trajectory. The eventual direction of travel will be at 90 degrees to the direction at the point of acceleration. If the body accelerates to beyond escape velocity the eventual direction of travel will be at a smaller angle, and indicated by one of the asymptotes of the hyperbolic trajectory it is now taking. This means the timing of the acceleration is critical if the intention is to escape in a particular direction.

If the speed at periapsis is $v$, then the eccentricity of the trajectory is given by:
 * $$e=2(v/v_e)^2-1$$

This is valid for elliptical, parabolic, and hyperbolic trajectories. If the trajectory is hyperbolic or parabolic, it will asymptotically approach an angle $$\theta$$ from the direction at periapsis, with
 * $$\sin\theta=1/e.$$

The speed will asymptotically approach
 * $$\sqrt{v^2-v_e^2}.$$

List of escape velocities
In this table, the left-hand half gives the escape velocity from the visible surface (which may be gaseous as with Jupiter for example), relative to the centre of the planet or moon (that is, not relative to its moving surface). In the right-hand half, Ve refers to the speed relative to the central body (for example the sun), whereas Vte is the speed (at the visible surface of the smaller body) relative to the smaller body (planet or moon).

The last two columns will depend precisely where in orbit escape velocity is reached, as the orbits are not exactly circular (particularly Mercury and Pluto).

Deriving escape velocity using calculus
Let G be the gravitational constant and let M be the mass of the earth (or other gravitating body) and m be the mass of the escaping body or projectile. At a distance r from the centre of gravitation the body feels an attractive force
 * $$F = G\frac{Mm}{r^2}.$$

The work needed to move the body over a small distance dr against this force is therefore given by
 * $$dW = F \, dr = G\frac{Mm}{r^2}\,dr.$$

The total work needed to move the body from the surface r0 of the gravitating body to infinity is then

 * $$W = \int_{r_0}^\infty G\frac{Mm}{r^2}\,dr = G\frac{Mm}{r_0} = mgr_0.$$

In order to do this work to reach infinity, the body's minimal kinetic energy at departure must match this work, so the escape velocity v0 satisfies
 * $$ \frac{1}{2}m v_0^2 = G\frac{Mm}{r_0},$$

which results in
 * $$v_0 = \sqrt\frac{2GM}{r_0} = \sqrt{2gr_0}.$$

title: Escape velocity