Music Giuseppe Verdi
Libretto Joseph Méry and Camille du Locle
Conductor Lorenzo Coladonato
Stage director Stefano Simone Pintor
Set designers Stefano Simone Pintor, Walter Ulrich
Costume designers Kerstin Rossbander
Video designer Maximilian Ulrich
Lighting designer Arndt Sellentin
Dramaturg Florian Maier
Orchestra Festivalorchester Immling
Choir Festivalchor Immling
Filippo II Oleksandr Pushniak
Don Carlo Héctor López
Rodrigo Sławomir Kowalewski
Der Großinquisitor Gelu Dobrea
Ein Mönch Givi Gigineishvili
Elisabetta di Valois Anna Patrys
Die Prinzessin Eboli Kate Allen
Tebaldo Anastasia Churakova
Stimme vom Himmel Keiko Obai
Die Gräfin vom Aremberg Sabine Lutter
Der Graf von Lerma Le Wang
Ein königlicher Herold Aliahmad Ibrahimov
Flandrische Deputierte Beka Abulashvili, Mikheil Edisherashvili, Alois Fürmaier, Givi Gigineishvili, Zurabi Natroshvili, Bartosz Szulc
The production was staged at the Immling Festival, Bavaria (Germany) during summer 2018.
The reason of State must not oppose the state of Reason.
Charles V, Holy Roman Emperor
A sentence that contains the essence of "Don Carlo" in a short and concise way. From the first moments in the convent of San Jerónimo de Yuste to the final confrontation at the same place, the presence of Charles V in Verdi's opera is tangible - if not physically, but a fortiori because of his legacy.
While the reign of Charles V passed to his son Filippo, the concept of the "reason of state" has lost nothing of its explosiveness. Who decides in which situations and for what reasons the rights of the state are to be valued higher than the interests of the individual? In the status quo of the social order, this question does not even arise - the power of the church and of the thereby legitimized state is already given by the divine plan of the world. The fact that man as an individual is oppressed thereby and is forced into a certain life depending on his social status is irrelevant. A king has to play his role as well as a monk or a citizen. There is hardly any room for the personal arrangement of relationships between fathers and sons, between friends or lovers.
Reason of state versus state of Reason, power versus soul - a gap that takes shape in our staging with the help of two metaphors. The reason of State finds its embodiment in the chair as a universal symbol of power. Everybody - whether intentionally or unintentionally - occupies a certain position in life and thus also takes a seat on "his" or "her" chair. Chairs open up an almost global interpretation context much stronger than culturally connoted insignia such as crowns, scepters or crosses in the sense of religious influence. On the other hand, the light motive stands as a symbol of the soul with all its shades, as can be seen in particular in the figure of Don Carlo. He speaks in his performances again and again of shadows and ghosts. The dreams of a life with Elisabetta, which could have been, turn into the abyss of a desperate soul.
An almost empty but meaningful space, continually transformed with the help of two symbolic elements within a simple theatrical language, filled with life through the relationships of the actors on the stage. Verdi composed "Don Carlo" within the traditional system of the "grand opéra" and all its elaborate and spectacular design tools - but rather the characters, the people were in the focus of his interest. In this sense, we concentrate on the very same to expand into the essence of the opera.