sit at the front for a year
opera and ballets for 10 €
concerts for 8 €
all advantages for 15 € per year
All other info here

18.05.2018, 19:00
Deutsche Oper Berlin

Don Carlo
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
Conductor 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
Inquisitor 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
Flemish deputies Sam Roberts-Smith

3 hrs 30 mins / 1 interval

Wir danken dem Regisseur Marco Arturo Marelli für sein Einverständnis, die Inszenierung den aktuellen technischen Gegebenheiten anzupassen.

Pre-performance lecture (in German): 45 minutes prior to each performance
Kindly supported by Förderkreis der Deutschen Oper Berlin e. V.
Presented by Cinestar.

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.