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Don Carlo

Giuseppe Verdi (1813 – 1901)

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


Stage Director, Stage Design, Lighting

Marco Arturo Marelli

Costume Design

Dagmar Niefind

Chorus Master

Raymond Hughes

King Philip of Spain

Giacomo Prestia

Don Carlo

Teodor Ilincai

Rodrigo, Marquis of Posa

Etienne Dupuis

Count of Lerma / Herold

Gideon Poppe


Ievgen Orlov
Albert Pesendorfer (02.07.2017 | 06.07.2017)

A monk

Markus Brück
Ievgen Orlov (02.07.2017 | 06.07.2017)

Elisabeth of Valois

Kristin Lewis
Lianna Haroutounian (02.07.2017 | 06.07.2017)

Princess of Eboli

Jamie Barton

The page Thibaut

Abigail Levis

A voice

Adriana Ferfezka
Siobhan Stagg (24.06.2017 | 29.06.2017)

Flemish deputies

Thomas Lehman
Michael Rapke (24.06.2017)

Flemish deputies

Philipp Jekal

Flemish deputies

Seth Carico

Flemish deputies

Andrew Harris

Flemish deputies

Samuel Dale Johnson

Flemish deputies

John Carpenter

About the performance

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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Kindly supported by Förderkreis der Deutschen Oper Berlin e. V.