Don Carlo - Schedule, Program & Tickets
Don Carlo
Giuseppe Verdi (1813 – 1901)
Opera in four acts
Libretto by Joesph Méry and Camille du Locle, based on the tragedy by Friedrich Schiller
First performance of the Italian version by Achille de Lauzières on 10. January, 1884 at Milan
Premiered at the Deutsche Oper Berlin on 23. October, 2011
In Italian language with German and English surtitles
3 hrs 30 mins / 1 interval
Conductor
Roberto Rizzi Brignoli
Stage Director, Stage Design, Lighting
Marco Arturo Marelli
Costume Design
Dagmar Niefind
Chorus Master
N. N.
King Philip of Spain
Giacomo Prestia
Don Carlo
Teodor Ilincai
Rodrigo, Marquis of Posa
Etienne Dupuis
Count of Lerma / Herold
Gideon Poppe
Inquisitor
Albert Pesendorfer
A monk
Ievgen Orlov
Elisabeth of Valois
Liudmyla Monastyrska
Princess of Eboli
Jamie Barton
The page Thibaut
Alexandra Hutton
A voice
Federica Lombardi
Flemish deputies
Derek Welton
Dong-Hwan Lee
Thomas Lehman
John Carpenter
Andrew Harris
Seth Carico
Chorus
Chor der Deutschen Oper Berlin
Orchestra
Orchester der Deutschen Oper Berlin
It is common knowledge that Giuseppe Verdi, by nature a critical man, not only found much to disapprove of in the trends of his day but also subjected his own work to a continuous process of editing and revision.
None of his operas did he alter, abridge, rearrange or rewrite more intensely than his grimmest work of all – DON CARLO -, whose web of political, religious and social constraints is most reminiscent of the inescapability of destiny associated with Greek drama.
Verdi began writing the opera in 1865, and twenty years were to pass before the premiere in Milan of the four-act version that we are most familiar with today. The composer not only wrestled with the two languages of the piece, each with its distinctive form of expression. He was also at pains to achieve the best possible result by repeatedly cutting, reducing and rearranging. The opera, extensive sections of which are faithful to Schiller’s play, went through no less than seven versions.
In none of the opera’s characters does the light of reason sparkle. Prisoners of their situations, prisoners of their own reins of control and of their own making, above all prisoners of a deadly, ever-looming spiritual power greater even than secular hegemony… Verdi captures the essential helplessness of human beings entangled in this network of terror: at best, death brings release.
Kindly supported by Förderkreis der Deutschen Oper Berlin e. V.
Opera in four acts
Libretto by Joesph Méry and Camille du Locle, based on the tragedy by Friedrich Schiller
First performance of the Italian version by Achille de Lauzières on 10. January, 1884 at Milan
Premiered at the Deutsche Oper Berlin on 23. October, 2011
In Italian language with German and English surtitles
3 hrs 30 mins / 1 interval
Conductor
Roberto Rizzi Brignoli
Stage Director, Stage Design, Lighting
Marco Arturo Marelli
Costume Design
Dagmar Niefind
Chorus Master
N. N.
King Philip of Spain
Giacomo Prestia
Don Carlo
Teodor Ilincai
Rodrigo, Marquis of Posa
Etienne Dupuis
Count of Lerma / Herold
Gideon Poppe
Inquisitor
Albert Pesendorfer
A monk
Ievgen Orlov
Elisabeth of Valois
Liudmyla Monastyrska
Princess of Eboli
Jamie Barton
The page Thibaut
Alexandra Hutton
A voice
Federica Lombardi
Flemish deputies
Derek Welton
Dong-Hwan Lee
Thomas Lehman
John Carpenter
Andrew Harris
Seth Carico
Chorus
Chor der Deutschen Oper Berlin
Orchestra
Orchester der Deutschen Oper Berlin
It is common knowledge that Giuseppe Verdi, by nature a critical man, not only found much to disapprove of in the trends of his day but also subjected his own work to a continuous process of editing and revision.
None of his operas did he alter, abridge, rearrange or rewrite more intensely than his grimmest work of all – DON CARLO -, whose web of political, religious and social constraints is most reminiscent of the inescapability of destiny associated with Greek drama.
Verdi began writing the opera in 1865, and twenty years were to pass before the premiere in Milan of the four-act version that we are most familiar with today. The composer not only wrestled with the two languages of the piece, each with its distinctive form of expression. He was also at pains to achieve the best possible result by repeatedly cutting, reducing and rearranging. The opera, extensive sections of which are faithful to Schiller’s play, went through no less than seven versions.
In none of the opera’s characters does the light of reason sparkle. Prisoners of their situations, prisoners of their own reins of control and of their own making, above all prisoners of a deadly, ever-looming spiritual power greater even than secular hegemony… Verdi captures the essential helplessness of human beings entangled in this network of terror: at best, death brings release.
Kindly supported by Förderkreis der Deutschen Oper Berlin e. V.
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