马林斯基剧院, 大剧场

唐•卡洛

四幕歌剧

用意大利语唱(俄语和英语字母)

Performers

指挥:

帕韦尔•斯梅尔科夫

Cast to be announced

Credits

作曲者 — 朱塞佩·威尔第
歌词作者 — 若泽夫·梅里,卡米利·杰·洛克利(根据伊奥甘恩·夫里德里赫·希尔列尔的同名的话剧改编)

导演:尤里·阿列克桑德罗夫
布景设计:捷伊穆拉兹·穆尔瓦尼泽
服装设计:塔季娅娜·诺吉诺娃
灯光设计:夫拉季米尔·卢卡谢维奇
滨海分院制作灯光设计:谢尔格伊·卢金
首席钢琴伴奏者:安德列伊·安年科夫
钢琴伴奏者:奥莉佳·克鲁科维奇
合唱团总监:拉丽莎·什韦伊科弗丝卡娅
助理导演:安娜·希什基纳,安纳·德龙妮科娃
意大利语教练:玛丽娅·妮基季娜

SYNOPSIS

简介

西班牙,16世纪。西班牙与法国之间的长期战争刚刚结束。西班牙国王希望通过王朝婚姻来实现脆弱的和平。他与法国公主伊丽莎白·瓦卢瓦快结婚了。但她原是他的儿子(唐·卡洛)的未婚妻。

第一幕

第一场景

在圣朱斯托修道院内,一众僧侣为帝王查理五世的亡灵祈祷。他的王孙唐·卡洛这个时候进入。因为僧侣中一位僧侣很像查理五世,唐·卡洛感到感到惊讶。他因为他的爱人伊丽莎白·瓦卢瓦要与他的父王结婚,心中感到痛苦。唐·卡洛的友人罗德里戈刚刚从受压制的法兰德斯回来。他为当地正在受苦的人民前来向亲王请求援助。罗德里戈鼓励唐·卡洛离开西班牙,前往法兰德斯。他相信,在那里,唐·卡洛会平静下来。他们重申友谊的誓言,并发誓要争取法兰德斯人的自由。

第二场景

在圣朱斯托修道院旁的花园内,埃博利公主与贵妇避热唱歌。伊丽莎白·瓦卢瓦加入她们中。罗德里戈出现并给她两封信:第一封来自她父亲,第二封来自唐·卡洛。伊丽莎白读信时,罗德里戈与埃博利热烈地交谈。然后,他要求伊丽莎白与唐·卡洛会面,并告诉她,国王最近对儿子不和蔼。埃博利公主以为唐·卡洛爱她。

他出现时,伊丽莎白让她的侍从们走。她对唐·卡洛承诺,她会说服国王将儿子送往法兰德斯。唐·卡洛无法克制自己的感情。他热切地向伊丽莎白表示爱意。当亲王离开后,国王发现女皇身边没有侍从。这是宫廷礼仪不能接受的。于是他命令一位女皇的侍女返回法国。伊丽莎白与她黯然告别。

国王邀请罗德里戈讲话。罗德里戈告诉腓力二世法兰德斯的困境。国王对罗德里戈的直率和诚实感到惊讶,但拒绝听取有关援助法兰德斯的要求。他忠告罗德里戈小心异端裁判所的法官。腓力二世说,他对伊丽莎白与他儿子的关系感到怀疑,并且请罗德里戈监视他们。

第二幕

第一场景

唐·卡洛收到一张似乎是伊丽莎白·瓦卢瓦的字条,请他深夜在女皇的花园相见。但字条其实是埃博利公主所写的。当晚,唐·卡洛向她表示爱意 (他以为她是伊丽莎白·瓦卢瓦)。埃博利公主感到十分高兴,但后来她惊觉原来唐·卡洛以为自己是女皇伊丽莎白·瓦卢瓦,唐·卡洛爱的是女皇,而不是自己。因此,她狂怒起来,她威胁会将唐·卡洛和伊丽莎白·瓦卢瓦之间的恋情告知腓力二世。罗德里戈来到。他威胁杀死埃博利公主,即使如此,她也不愿意回心转意。罗德里戈请唐·卡洛相信他,把任何政治敏感的文件交托给他保管。

第二场景

在巴利亚多利德市主广场上,正在准备烧死法兰德斯新教徒。天主教会认为他们是异端。一群人聚集在一起观看火刑,他们向国王唱赞歌。唐·卡洛将法兰德斯和布拉班特的代表带到腓力二世。

法兰德斯人向腓力二世求饶。伊丽莎白·瓦卢瓦、罗德里戈和人群参加他们的呼吁。不过,国王在僧侣的煽动下坚持不懈。唐·卡洛乞求父亲让他担任法兰德斯州长,但国王轻蔑地拒绝。亲王拔出剑来,宣布自己是不幸的法兰德斯的救星。每个人都很生气。罗德里戈解除唐·卡洛的武装。为了感谢他,腓力二世给予公爵头衔。火刑继续进行。天堂声音传来,它安慰被谴责的人。

第三幕 

第一场景

国王腓力二世哀叹着伊丽莎白从来没有爱过他。异端裁判所的法官步入。国王问道他是否应该将自己的儿子赐死?异端裁判所的法官回应说上帝亦将自己的儿子牺牲了。国王忿怒地说罗德里戈才是异端裁判所真正想铲除的目标。

伊丽莎白·瓦卢瓦进入,查问有关她遗失了的首饰盒。突然,她注意到它在国王的桌子上。国王在饰盒内发现唐·卡洛的肖像,并谴责伊丽莎白不忠,使她晕倒。

埃博利公主和罗德里戈进入。罗德里戈立即带国王走。埃博利公主对伊丽莎白·瓦卢瓦感到歉疚,不单是因为她自己爱上了唐·卡洛,而且偷了首饰盒,把它给国王。她恳求饶恕。伊丽莎白给埃博利公主两个选择:一是离开朝廷和国家,二是进入修道院。埃博利公主诅咒着自己的美丽选择进入修道院。但她决心,她先要营救唐·卡洛。

第二场景

唐·卡洛在狱中。罗德里戈告诉他将会得救,但他自己则受到之前唐·卡洛交托给他的文件所牵连,难逃一死。罗德里戈对他的朋友说再见,再次鼓励他释放法兰德斯。随即,两个男子出现在地牢门口,向罗德里戈开枪。罗德里戈临死前告诉唐·卡洛 ,明天伊丽莎白·瓦卢瓦会在圣朱斯托修道院与他相见。国王腓力二世来到,释放他的儿子。唐·卡洛抵抗国王。警钟响起一声,警告支持亲王的暴乱开始了。群众威胁国王,但异端裁判所人员随即将他们制服。唐·卡洛逃跑。

第四幕

在圣朱斯托修道院,伊丽莎白·瓦卢瓦在先王查理五世的墓前祈祷。她知道,她即将辞世。唐·卡洛这时候出现,向伊丽莎白作最后道别。伊丽莎白为他保卫法兰德斯之战而祝福。唐·卡洛必须顺从他的命运。国王及异端裁判官到达。国王将会把他的儿子交给异端裁判所。这个时候,从先王查理五世的墓里,走出一个僧侣。所有人意识到他是查理五世。他带领唐·卡洛逃到安全的地方。

ABOUT THE PRODUCTION

Don Carlo, along with Aida and Shakespeare’s masterpieces Othello and Falstaff, is one of Giuseppe Verdi’s greatest creations. Upon request of the director of the Théâtre Impérial de l’Opéra (Paris Opera), the composer turned to the dramatic play of one of his favorite playwrights, Friedrich von Schiller. Librettists François-Joseph Méry and Camille du Locle developed the plot according to the canons of the French “grand opera”, with its traditional five-act structure and de rigueur ballet. This “living, powerful work made of gold, mud, bile and blood” (as Georges Bizet described it) created by Verdi could not but contradict the tastes of the Parisian public. In 1868, just a year and a half after the French premiere, Don Carlo was presented at the Bolshoi (Kamenny) Theatre in St. Petersburg, performed by the Italian troupe. However, Giuseppe Verdi remained unsatisfied. No longer bound by the canons of the Parisian stage, he cut the ballet at the beginning of Act III, and also shortened the meeting of Carlo and Élisabeth in the Forest of Fontainebleau, but added one of the most striking ensembles, the duet of Philip II and Rodrigo. The La Scala premiere of the new four-act version with the Italian verses by Antonio Ghislanzoni (the author of libretto to Aida) took place in 1884.

After the first production in St. Petersburg, Don Carlo was banned on the Russian stage for censorship reasons. Only in 1917, Feodor Chaliapin achieved the return of the opera to the Bolshoi Theatre in Moscow and acted as Philip II, becoming the unsurpassed performer of that role.

Don Carlo premiered at the Kirov Opera and Ballet Theatre (Mariinsky Theatre) in 1976, and its Milano edition was shown in 1992 and in 1999. In 2012, the premiere of the five-act Modena version, including the scene in Fontainebleau, took place.

The Primorsky Stage of the Mariinsky Theatre presents the historical performance by Stage Director Yuri Alexandrov, production design by Teimuraz Murvanidze. This magnificent production is framed with gloomy splendor: the massive scenery recreate the look and atmosphere of Escorial, the palace and monastery of Philip II, which is sometimes called the eighth wonder of the world, and sometimes, an architectural nightmare. The luxurious costumes by Tatiana Noginova seem to have come off the canvases of the great painters of the Spanish court.

The central idea of ​​the performance follows Giuseppe Verdi’s plan: in the state ruled by Philip II, there is no place for human feelings and freedom, and the King himself is tragically lonely. “A grand opera of grand passions”, as Don Carlo is often correctly named, is a story of ruined love. The fate of every single main character is pathetic, and only the final duet of Carlo and Élisabeth brings some hope, as the lovers believe in their posthumous union in heaven. The genius Verdi conveys hypertrophied passions not so much in “portrait” arias, as in the dramatic ensembles, “clashes” of the characters.

The theatricality of the opera is determined by the extreme polarization of the images: Don Carlo and Philip II, Élisabeth and Eboli. A special position is held by Rodrigo, who is located, so to speak, at the intersection of these semantic coordinates: after all, he is both Carlo’s friend and the King’s confidant. A large role in the musical drama of the opera is played by crowd scenes and the orchestra. The expressive contours of vocal melodies are shaded by the voices of the musical instruments; the austere tinctures of church hymns can be traced in the chorales of the brass instruments. The emphasized contrasts of the juxtaposition of individual groups bestow declamatory pathos to the harmony of the orchestra.

Nadezhda Kulygina


全球首演:1867311日,巴黎,加尼叶歌剧院

演出时长:4小时 (含两段幕间休息时间)

Age category 12+

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