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Don Carlo

This listing is in the past
Deutsche OperBismarckstraße 35, Berlin, Germany
May 18 19:00, May 21 18:00, May 27 19:00
Verdi, Giuseppe (1813-1901)Don Carlo(s) (Four act version)
Deutsche Oper Berlin
Donald RunniclesConductorMay 18, 21
Ido AradConductorMay 27
Marco Arturo MarelliDirector, Set Designer
Dagmar NiefindCostume Designer
Ildebrando D'ArcangeloBaritonePhilip II (Philippe/ Filippo)
Yosep KangTenorDon Carlo (Don Carlos)
Étienne DupuisBaritoneRodrigo (Rodrigue)
Matthew RoseBassGrand Inquisitor
Anja HarterosSopranoElisabetta di Valois (Elisabeth de Valois)
Elena ZhidkovaSopranoPrincess Eboli
Marko MimicaBassA Monk
Alexandra HuttonSopranoTebaldo (Thibault)
Gideon PoppeTenorThe Count of Lerma
Siobhan StaggSopranoA Voice from Heaven
Berlin Deutsche Opera Orchestra
Berlin Deutsche Opera Chorus

t 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.

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