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 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. “It was hiding in plain sight,” the 83-year-old retired Cornell professor recalled to The Associated Press. The passage was clasped, deleted by Verdi before opening night to allow the audience to catch the final train of the night, a 12:35 a.m. Handed the Opera's manuscript copy of the score, the musicologist found several cuts, including an unfamiliar passage in a key duet between King Philippe II and Rodrigue, the Marquis of Posa, that was missing from the autograph score in Verdi's hand. David Rosen walked into France's Bibliothèque-Musée de l’Opéra National in the summer of 1968 and requested the original materials from when Giuseppe Verdi’s “Don Carlos” premiered at the Paris Opera in 1867.
0 kommentar(er)
