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Verdi-Festival-Weeks 2018

Don Carlo

Giuseppe Verdi (1813 – 1901)
Fri 18.05.2018 - 19:00 h
D-Prices: € 128,– / 94,– / 67,– / 39,–

Subscription: V

Informationen zum Werk

Opera in four acts
Libretto by Joesph Méry and Camille du Locle, based on the tragedy by Friedrich Schiller
First performance of the Italian version by Achille de Lauzières on 10. January, 1884 at Milan
Premiered at the Deutsche Oper Berlin on 23. October, 2011

In Italian language with German and English surtitles

3 hrs 30 mins / 1 interval

Pre-performance lecture (in German): 45 minutes prior to each performance



Donald Runnicles

Stage Director, Stage Design, Lighting

Marco Arturo Marelli

Costume Design

Dagmar Niefind

Chorus Master

Jeremy Bines

King Philip of Spain

Ildebrando D'Arcangelo

Don Carlo

Yosep Kang

Rodrigo, Marquis of Posa

Etienne Dupuis

Count of Lerma / Herold

Ya-Chung Huang


Matthew Rose

A monk

Marko Mimica

Elisabeth of Valois

Anja Harteros

Princess of Eboli

Elena Zhidkova

The page Thibaut

Alexandra Hutton

A voice

Siobhan Stagg

The Concert Programme

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.

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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