Don Carlo (ital.) - Schedule, Program & Tickets
Don Carlo (ital.)
conductor
Franz Welser-Möst
Director
Daniele Abbado
Stage design
Graziano Gregori
stage
Angelo Linzalata
Costumes
Carla Teti
light
Alessandro Carletti
Directorial assistance
Boris Stetka
choreography
Simona Bucci
Philip II
Ain Anger
Don Carlo
Fabio Sartori
Rodrigo
Boris Pinkhasovich
The Grand Inquisitor
Dmitry Ulyanov
Elisabeth of Valois
Asmik Grigorian
Princess Eboli
Anita Rachvelishvili
Don Carlo is one of Giuseppe Verdi's most famous and most appreciated operas by the public and by many artists. In the history of its creation, a child of pain - the composer struggled with the work for many years and created several versions, some of which were on an equal footing - Don Carlo can refer to a broad reception history that included around 450 performances in the Haus am Ring alone up to 2012 . Since the first performance at the Vienna State Opera in 1932, numerous new productions have been made here, with the opera initially being given in German; In 2004 the French version premiered here in its original version.
Don Carlo is based on the play by Friedrich Schiller, with additional literary sources from the composer and his librettist being used. The material refers to the Spanish Infante Don Carlo, although the events of the plot do not correspond to historical facts. In the opera, Don Carlo loves his stepmother Elisabeth von Valois, who is married to his father Philip II. Under the spiritual care of the Marquis of Posa, he campaigns for the oppressed people of Flanders. Under the influence of the Grand Inquisitor, the freethinker Posa falls, Carlo is last saved from the Inquisition by a mysterious monk. Director Daniele Abbado particularly emphasizes the father-son problem of the opera, where he lets the action take place in an abstract space, but using the costumes gives historical reference points.
The production will perform the four-act Italian “Milanese version” first given in 1884, which, according to Franz Welser-Möst, who directed the premiere as conductor, “corresponds more to the practice of music theater and is more effective and more stringent from the point of view of the drama than the longer version and thus better accommodates a lively repertoire system like the one at the Vienna State Opera. "
Subject to changes.
Franz Welser-Möst
Director
Daniele Abbado
Stage design
Graziano Gregori
stage
Angelo Linzalata
Costumes
Carla Teti
light
Alessandro Carletti
Directorial assistance
Boris Stetka
choreography
Simona Bucci
Philip II
Ain Anger
Don Carlo
Fabio Sartori
Rodrigo
Boris Pinkhasovich
The Grand Inquisitor
Dmitry Ulyanov
Elisabeth of Valois
Asmik Grigorian
Princess Eboli
Anita Rachvelishvili
Don Carlo is one of Giuseppe Verdi's most famous and most appreciated operas by the public and by many artists. In the history of its creation, a child of pain - the composer struggled with the work for many years and created several versions, some of which were on an equal footing - Don Carlo can refer to a broad reception history that included around 450 performances in the Haus am Ring alone up to 2012 . Since the first performance at the Vienna State Opera in 1932, numerous new productions have been made here, with the opera initially being given in German; In 2004 the French version premiered here in its original version.
Don Carlo is based on the play by Friedrich Schiller, with additional literary sources from the composer and his librettist being used. The material refers to the Spanish Infante Don Carlo, although the events of the plot do not correspond to historical facts. In the opera, Don Carlo loves his stepmother Elisabeth von Valois, who is married to his father Philip II. Under the spiritual care of the Marquis of Posa, he campaigns for the oppressed people of Flanders. Under the influence of the Grand Inquisitor, the freethinker Posa falls, Carlo is last saved from the Inquisition by a mysterious monk. Director Daniele Abbado particularly emphasizes the father-son problem of the opera, where he lets the action take place in an abstract space, but using the costumes gives historical reference points.
The production will perform the four-act Italian “Milanese version” first given in 1884, which, according to Franz Welser-Möst, who directed the premiere as conductor, “corresponds more to the practice of music theater and is more effective and more stringent from the point of view of the drama than the longer version and thus better accommodates a lively repertoire system like the one at the Vienna State Opera. "
Subject to changes.
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