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Artistic Direction: Mihaela Sandu
Scenography adaptation after arh. Cătălin I. Arbore: Valentin Codoiu
Scenic movement: Marius Toda
Choir Master: Emil Maxim
Filip the second: Alin Anca (debut; guest)
Elisabeta de Valois: Valentina Boi (debut; guest)
Don Carlo: Marius Vlad Budoiu
Princess Eboli: Liza Kadelnik (debut)
Rodrigo, Marchiz de Posa: Geani Brad
The Big inquisitor: Simonfi Sandor
The Monk: Corneliu Huțanu
A voice from heaven: Christine Razec (debut; guest)
Tebaldo: Oana Trîmbițaș
Lerma count and The Royal Herald: Florin Pop
Choir Conductor: Corneliu Felecan
Assistant of Artistic Director: Iulian Ioan Sandu
Assistant conductor: Flaviu Mogoșan
Stage and backstage direction: Cristina Albu
Orchestra and the Choir of Romanian National Opera from Cluj-Napoca
description
show category: opera
Dear spectators,
According to the decision of National Committee for Emergency Situations, all the performances are allowed only in accordance with the legal regulations in force that is, the following conditions:
- public participation is allowed up to 30% of the performance hall capacity;
- every spectator has to present the official QR Code of their SARS-CoV-2 certificate (digital or on paper), proving that they have been fully vaccinated or tested;
- every spectator has to present the proof that he is between 15 and 180 days after the confirmation of contacting the SARS-CoV-2 virus.
Everyone participating the Romanian National Opera in Cluj-Napoca events, has to present their SARS-CoV-2 certificate (digital or on paper) through the official digital certificate approved by the European Union, according to the provisions of the Government Emergency Ordinance no. 68/2021 on the adoption of measures for the implementation of the European framework for the issuance verification and acceptance of the digital certificate COVID-19 of the European Union.
Be aware that every official certificate has to be accompanied by an identity document.
All of the above doesn’t apply to children below 12 years old.
Thank you for your understanding!
Performance in four acts (seven paintings) on a libretto by Achille de Lauzières-Thémines and Angelo Zanardini, after the drama Don Karlos, Infant von Spanien by Friedrich Schiller.
Along with other titles written during the period of compositional maturity of Giuseppe Verdi, the opera Don Carlo reflects the new expressive peaks gradually gained and achieved under the impulse offered by the reform of his contemporary Richard Wagner in the field of musical drama. However, unlike the other masterpieces that have enjoyed from the beginning a great degree of popularity and spread in the world of European lyrical theater, but also worldwide (Nabucco, Rigoletto, Trubadurul, La Traviata and others), this road to the same popularity” for „Don Carlo work was quite sinuous.
Following the Paris premiere of its first French version (titled Don Carlos) of March 11, 1867, the work was subject to revisions and adaptations, both in terms of text and script, to be represented at Darmstadt (1868), Senigallia (1868) and on the stage of the Scala Theater in Milan (1884). The four versions up to that time have been added, over time, and others.
Inspired by Friedrich Schiller’s eponymous drama, the action of the Don Carlo opera takes place during the war between France and Spain, in the mid-16th century. On a secret visit to France, Don Carlo – the son of King Philip II of Spain – accidentally meets Elisabeta de Valois, and the two fall in love at first sight. The happiness of getting to know one another will not last too long, as Elizabeth’s hand was promised to King Philip by her father, as a guarantee of the peace treaty between the two countries.
Returning to Spain, Don Carlo’s attempts to re-establish ties with Elizabeth, now his stepmother, and to fulfill his ideal of governing Flanders and gaining independence, will be supported, on the one hand, by the believer. his friend Rodrigo, and disturbed, on the other hand, by the manifestation of hatred and jealousy of Princess Eboli or the abuse of power of the Grand Inquisitor. The tragic end, so specific to literary romanticism, is under the sign of powerlessness in the face of the machines of power.
The show has three breaks and ends around 10.00 p.m.
Recommended age: 10+