Organization

Singer

Bass

Pavel Kudinov

Philip II

Tobias Schabel

Tenor

Leonardo Caimi

Don Carlo

Santiago Sánchez

Soprano

Anna Princeva

Elisabeth of Valois

Mezzo-soprano

Dshamilja Kaiser

Princess Eboli

Baritone

Giorgos Kanaris

Rodrigo

Karl-Heinz Lehner

The Grand Inquisitor

Lada Bočková

Thibault

Sarah Vautour

Magnus Piontek

A Monk

Katleho Mokhoabane

The Count of Lerma

Conductor

Hermes Helfricht

Set designer

Helmut Stürmer

Chorus master

Marko Medved

Stage director

Mark Daniel Hirsch

Lighting designer

Max Karbe

Video designer

Ruth Stofer

Choreographer

Bärbel Stenzenberger

Correction

Igor Horvat

Stage Design Assistant

Ansgar Baradoy

Regieassistenz

Idilsu Yaman

Costume designer

Marcel Brunner

A Voice from Heaven

Miloš Bulajić

Royal Herald

Julia Faylenbogen

Khatuna Mikaberidze

Musical assistance

Elia Tagliavia

Director of Studies

Pauli Jämsä

Inspector

Barbara Schroeder

Libretto

Camille du Locle

Sven Bakin

Flemish envoys

Enrico Döring

Algis Lunskis

Miljan Milovic

Benjamin Hewat-Craw

Daniel Claus Schäfer

Theater Bonn

Orchestra

Beethoven Orchester Bonn

Others

Choir of the Bonn Theater

italų

Don Carlo (Italian version)

Bonn

Germany

Opernhaus

Don Carlo Verdi

Public

Approved

This is "DON CARLO | Trailer" by Theater Bonn on Vimeo, the home for high quality videos and the people who love them.

It is well known, that Guiseppe Verdi’s critical spirit caused him to not only be deeply affected by the conditions of his own epoch, but also to meet his own creations with scepticism and a readiness to revise them continually. No other opera was as often revised, abridged, transposed and redrafted as DON CARLO – the one that comes closest to the inevitabilities of ancient Greek drama with its close-knit fabric of political, religious and social constraints, and which has thus become his darkest work. 

More than twenty years passed between 1865, when Verdi began to work on the composition, and the performance of the five-act version in Modena in 1886, the version that is more frequently performed nowadays than the four-act Milan version of 1884, which was more common until the 1980s. Verdi not only wrestled with the two languages and their highly divergent expressive airs, but also kept trying to achieve an optimal result through incessant abridgements and transpositions. Thus, this opera, which remains largely true to Friedrich Schiller’s drama, has no less than seven versions. The light of reason, however, appears in neither of them. Prisoners of the constraints, prisoners of their self-imposed reins, but above all prisoners of an ever fatally looming spiritual power for which even the secular rulers are no match – Verdi encapsulates the hopelessness of human entanglements in this network of terror in the most elementary way:  if freedom is to be found at all, it is only in death.

English

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