The University of Chicago Press’s 31-volume Verdi Critical Edition's “Don Carlos” will be edited by Gabriel Dotto and likely will contain a Paris score and Italian editions of four acts (Milan 1883) and five (Modena 1886). 24, 1867, included 3 hours, 47 minutes of music stretching until 12:23 a.m., and by the March 9 run-through the music was trimmed by 19 minutes, according to Andrew Porter’s research, citing La Gazzetta Musicale di Milano and L’Art Musical.įollowing discoveries by Rosen and Porter, Ricordi published a complete vocal-piano edition by Ursula Günther in 1974 that included versions as rehearsed in 18, the premiere of March 11, 1867, and the second performance two days later along with revisions of 18. “Don Carlos” is Verdi’s longest opera at more than five hours uncut, with intermissions. The king is trapped between his own power and that of the Catholic Church, wielded by a 90-year-old, blind grand inquisitor. Princess Eboli, a member of the court, has an affair with Philippe Carlos confronts his father with a sword when defending the Flemish, and Rodrigue sides with the king and makes his friend give up the weapon.
Carlos, the Prince of Asturias, is engaged to France’s Élisabeth de Valois, but the Peace of Cateau-Cambrésis called for Élisabeth to marry Carlos’ father, Philippe of Spain. Six superior singers are essential: a soprano (Sonya Yoncheva), mezzo-soprano (Jamie Barton), tenor (Matthew Polenzani), baritone (Etienne Dupuis) and two basses (Eric Owens and John Relyea).įamily drama worthy of a Netflix series is wedged in. The Met has also restored many elements of the original. The Met’s adaptation uses the original libretto by Joseph Méry and Camille du Locle that includes elements of Friedrich Schiller’s “Don Carlos” plus a first act in the Fontainebleau forest and a third act burning of heretics based on Eugène Cormon’s play “Philippe II, Roi d’Espagne.” “Don Carlos,” Verdi’s second Paris commission after “Les vêpres siciliennes (The Sicilian Vespers)” in 1855, adhered to the grand opera form Parisians demanded: five acts, including a ballet. In Italian, of course, consonants are important but it’s rooted much more into vowel.”
And I feel that this changes subtly but consistently the impression that the listener will have when listening to a great melody by Verdi. “The consonants are very expressive in French. “The color of the language is more rooted in what we do in French,” said Yannick Nézet-Séguin, the Met’s French-Canadian music director. The Metropolitan Opera is presenting the original French version for the first time starting Monday night after 217 performances of the extensively revised and translated Italian version more familiar as “Don Carlo.” The eighth and final performance on March 26 will be broadcast to movie theaters worldwide.
0 kommentar(er)
