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Don Carlo
Date details
- Date Sunday, 25/May/2025 17:00 (3 more dates)
- Venue Deutsche Oper Berlin
- Address Bismarckstraße 35, 10627 Berlin-Charlottenburg
- Price from €36.50
Book tickets for this date
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U Wilmersdorfer Str.
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Bus
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U Deutsche Oper
Part of:
Don Carlo
Don Carlo – Ruth Tromboukis
© Ruth Tromboukis
![Rolando Villazón und Etienne Dupuis singen das Freundschaftsduett aus Don Carlo – Ruth Tromboukis]()
Rolando Villazón und Etienne Dupuis singen das Freundschaftsduett aus Don Carlo – Ruth Tromboukis
© Ruth Tromboukis
![Fünf Cellisten spielen Don Carlo – Ruth Tromboukis]()
Fünf Cellisten spielen Don Carlo – Ruth Tromboukis
© Ruth Tromboukis
![Don Carlo – Etienne Dupuis als Rodrigo, Nicole Car als Elisabeth von Valois, Yulia Matochkina als Prinzessin Eboli Bettina Stöß]()
Don Carlo – Etienne Dupuis als Rodrigo, Nicole Car als Elisabeth von Valois, Yulia Matochkina als Prinzessin Eboli Bettina Stöß
© Bettina Stöß
![Don Carlo – Robert Watson als Don Carlo, Nicole Car als Elisabeth von Valois Bettina Stöß]()
Don Carlo – Robert Watson als Don Carlo, Nicole Car als Elisabeth von Valois Bettina Stöß
© Bettina Stöß
![Don Carlo – u. a. Etienne Dupuis als Rodrigo, Alex Esposito als Philipp II. Bettina Stöß]()
Don Carlo – u. a. Etienne Dupuis als Rodrigo, Alex Esposito als Philipp II. Bettina Stöß
© Bettina Stöß
![Don Carlo – Anna Smirnova als Eboli, Rolando Villazón als Don Carlo Bettina Stöß]()
Don Carlo – Anna Smirnova als Eboli, Rolando Villazón als Don Carlo Bettina Stöß
© 2015 Bettina Stöß
![Don Carlo – Hans-Peter König als Philipp II., Anja Harteros als Elisabeth von Valois u. a. Bernd Uhlig]()
Don Carlo – Hans-Peter König als Philipp II., Anja Harteros als Elisabeth von Valois u. a. Bernd Uhlig
© 2013 Bernd Uhlig
![Don Carlo – Roberto Scandiuzzi als Philipp II., Chor der Deutschen Oper Berlin Barbara Aumüller]()
Don Carlo – Roberto Scandiuzzi als Philipp II., Chor der Deutschen Oper Berlin Barbara Aumüller
© 2011 Barbara Aumüller
![Don Carlo – Albert Pesendorfer als Der Großinquisitor, Alex Esposito als Philipp II. Bettina Stöß]()
Don Carlo – Albert Pesendorfer als Der Großinquisitor, Alex Esposito als Philipp II. Bettina Stöß
© Bettina Stöß
![Don Carlo – Alex Esposito als Philipp II., Nicole Car als Elisabeth von Valois Bettina Stöß]()
Don Carlo – Alex Esposito als Philipp II., Nicole Car als Elisabeth von Valois Bettina Stöß
© Bettina Stöß
![Don Carlo – u. a. Nicole Car als Elisabeth von Valois Bettina Stöß]()
Don Carlo – u. a. Nicole Car als Elisabeth von Valois Bettina Stöß
© Bettina Stöß
![Don Carlo – Robert Watson als Don Carlo, Etienne Dupuis als Rodrigo Bettina Stöß]()
Don Carlo – Robert Watson als Don Carlo, Etienne Dupuis als Rodrigo Bettina Stöß
© Bettina Stöß
![Don Carlo – Robert Watson als Don Carlo, Etienne Dupuis als Rodrigo, Yulia Matochkina als Prinzessin Eboli Bettina Stöß]()
Don Carlo – Robert Watson als Don Carlo, Etienne Dupuis als Rodrigo, Yulia Matochkina als Prinzessin Eboli Bettina Stöß
© Bettina Stöß
With DON CARLO, Verdi created one of his great political operas. However, in his adaptation of Schiller's drama of freedom, he also emphasised the individual fate of the characters, their loves, passions, friendship, desire and disappointment. Marco Arturo Marelli's austere production deepens these conflicts in its visually powerful stage architecture reminiscent of the Escorial ... Conductor: Sir Donald Runnicles; Director: Marco Arturo Marelli; With Alex Esposito, Jonathan Tetelman, Gihoon Kim, Patrick Guetti, Federica Lombardi, Irene Roberts and others.
About the workIt 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.
About the productionMarco Arturo Marelli brings Verdi's epic opera classic to the stage in a visually stunning way. The struggle for freedom and independence under the rule of the absolutist King Philip II is emphasised as a central theme. The unshakeable power of the church, which is chiselled into the foundations of this society, is always present behind everything. Embodied in the Inquisition, it makes short work of anything that could pose a threat to it by attempting to shake up the existing conditions.
About the workIt 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.
About the productionMarco Arturo Marelli brings Verdi's epic opera classic to the stage in a visually stunning way. The struggle for freedom and independence under the rule of the absolutist King Philip II is emphasised as a central theme. The unshakeable power of the church, which is chiselled into the foundations of this society, is always present behind everything. Embodied in the Inquisition, it makes short work of anything that could pose a threat to it by attempting to shake up the existing conditions.
Artists/Collaborators: Sir Donald Runnicles (Musikalische Leitung), Marco Arturo Marelli (Inszenierung, Bühne, Licht), Dagmar Niefind (Kostüme), Jeremy Bines (Chöre), Alex Esposito (Philipp II.), Jonathan Tetelman (Don Carlo), Gihoon Kim (Rodrigo, Marquis von Posa), Kangyoon Shine Lee (Graf von Lerma / Herold), Patrick Guetti (Der Großinquisitor), Gerard Farreras (Ein Mönch), Federica Lombardi (Elisabeth von Valois), Irene Roberts (Prinzessin Eboli), Maria Vasilevskaya (Tebaldo), Lilit Davtyan (Stimme von oben), Stephen Marsh (1. Flandrischer Deputierter), Gerard Farreras (2. Flandrischer Deputierter), Joel Allison (3. Flandrischer Deputierter), Michael Bachtadze (4. Flandrischer Deputierter), Jared Werlein (5. Flandrischer Deputierter), Geon Kim (6. Flandrischer Deputierter), Chor der Deutschen Oper Berlin (Chöre), Orchester der Deutschen Oper Berlin (Orchester)
Runtime: Sat, 17/05/2025 to Thu, 29/05/2025
Pre-performance lecture (in German): 45 minutes prior to each performance
Alternative events
© Matthias Baus
Il trovatore
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- Il Trovatore
- Date:
- Sunday, 25/May/2025 19:00 (1 more date)
- Venue:
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- Address:
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- Price:
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©andrys lukowski - stock.adobe.com
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- Date:
- Tuesday, 27/May/2025 19:00 (1 more date)
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©andrys lukowski - stock.adobe.com
Tom Sawyer - Kinderoper von Kurt Weill
- Date:
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- Venue:
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- Address:
- Bismarckstraße 110, 10625 Berlin
- Price:
- from €23.95
© Marcus Lieberenz
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- Next date:
- Les Vepres Siciliennes
- Date:
- Saturday, 31/May/2025 19:00
- Venue:
- Deutsche Oper Berlin
- Address:
- Bismarckstraße 35, 10627 Berlin-Charlottenburg
- Price:
- from €32.10
© Bettina Stöß
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In his opera about the hunchbacked court jester, Verdi took the tension between the improbabilities of the plot and the emotional overwhelming power of musical theatre to extremes. Jan Bosse's production tells the tragedy of a man who fails to separate... moreabout: Rigoletto
- Date:
- Sunday, 01/June/2025 17:00 (1 more date)
- Venue:
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- Address:
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- Price:
- from €32.10
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