Organization

Libretto

Joseph Méry

Camille du Locle

Cantante

Bajo

Alex Esposito

Felipe II

Tenor

Robert Watson

Don Carlos

Soprano

Nicole Car

Elisabetta de Valois

Mezzosoprano

Yulia Matochkina

Princesa Eboli

Albert Pesendorfer

El Gran Inquisidor

Andrew Harris

El Fraile

Gideon Poppe

El Heraldo Real

El Conde de Lerma

Valeriia Savinskaia

La Voz del Cielo

Sam Park

Padraic Rowan

Tyler Zimmerman

Philipp Jekal

Byung Gil Kim

Director(a) de escena

Marco Arturo Marelli

Director(a) orquestal

James Gaffigan

Diseñador(a) de iluminación

Diseñador(a) de vestuario/Figurinista

Dagmar Niefind-Marelli

Escenógrafo(a)

Director(a) coral

Jeremy Bines

Deutsche Oper Berlin

italiano

Don Carlo (Italian version) -  (Don Carlo (versión italiana))

Berlín

Alemania

Don Carlo Verdi

Public

Don Carlo (versión italiana)

alemán

inglés

Válido

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

Créditos de presentación (Reparto & Equipo )

Elenco

Equipo