Organization

Libretto

Joseph Méry

Camille du Locle

Singer

Bass

Alex Esposito

Philip II

Tenor

Robert Watson

Don Carlo

Soprano

Nicole Car

Elisabeth of Valois

Mezzo-soprano

Yulia Matochkina

Princess Eboli

Albert Pesendorfer

The Grand Inquisitor

Andrew Harris

A Monk

Gideon Poppe

Royal Herald

The Count of Lerma

Valeriia Savinskaia

A Voice from Heaven

Sam Park

Padraic Rowan

Tyler Zimmerman

Philipp Jekal

Byung Gil Kim

Stage director

Marco Arturo Marelli

Conductor

James Gaffigan

Lighting designer

Costume designer

Dagmar Niefind-Marelli

Set designer

Chorus master

Jeremy Bines

Deutsche Oper Berlin

italià

Don Carlo (Italian version)

Berlin

Germany

Don Carlo Verdi

Public

alemany

anglès

Approved

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.


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.

English

Crèdits de representació (Repartiment i equipatge )

Repartiment

Tripulació