"Schiller’s Don Carlos, written ten years before his great Wallenstein trilogy, testifies to the young playwright’s growing power. First performed in 1787, it stands at the culmination of Schiller’s ...formative development as a dramatist and is the first play written in his characteristic iambic pentameter. Don Carlos plunges the audience into the dangerous political and personal struggles that rupture the court of the Spanish King Philip II in 1658. The autocratic king’s son Don Carlos is caught between his political ideals, fostered by his friendship with the charismatic Marquis Posa, and his doomed love for his stepmother Elisabeth of Valois. These twin passions set him against his father, the brooding and tormented Philip, and the terrible power of the Catholic Church, represented in the play by the indelible figure of the Grand Inquisitor. Schiller described Don Carlos as ""a family portrait in a princely house.” It interweaves political machinations with powerful personal relationships to create a complex and resonant tragedy. The conflict between absolutism and liberty appealed not only to audiences but also to other artists and gave rise to several operas, not least to Verdi’s great Don Carlos of 1867. The play, which the playwright never finished to his satisfaction, lives on nonetheless among his best-loved works and is translated here with flair and skill by Flora Kimmich. Like her translations of Schiller’s Wallenstein and his Fiesco’s Conspiracy at Genoa, this is a lively and accessible rendering of a classic text. As with all books in the Open Book Classics series, it is supported by an introduction and notes that will inform and enlighten both the student and the general reader."
The history of the performance of the part of Philip in the opera “Don Carlos” by G. Verdi knows several vivid examples. Based on audio and video recordings of different years, the authors tried to ...identify the most significant of them by applying the method of comparative analysis. These are interpretations of the role by the Russian singers F. Shaliapin, E. Nesterenko, I. Abdrazakov, also by the Bulgarian basses B. Hristov and N. Ghiaurov.
Este artículo considera las implicaciones de las referencias a familiares de Jacques Offenbach, por parte de su esposa, y que aparecen en el libreto de su opéra-comique Pépito, estrenada en París en ...el Théâtre des Variétés el 28 de octubre de 1853. Estas referencias han propiciado una detallada investigación sobre estos familiares, los Alcain españoles y los Mitchell anglo-franceses, y el estudio de su relación, y por extensión la de Offenbach, con España y con un episodio específico de su historia, la Primera Guerra Carlista (1833-1840), una relación que no ha sido bien entendida por sus biógrafos.
Il volume raccoglie gli “appunti” delle lezioni sul Don Carlos verdiano tenute nel corso di laurea in Lettere moderne all’Università Federico II di Napoli.
Schiller’s Don Carlos, written ten years before his great Wallenstein trilogy, testifies to the young playwright’s growing power. First performed in 1787, it stands at the culmination of Schiller’s ...formative development as a dramatist and is the first play written in his characteristic iambic pentameter. Don Carlos plunges the audience into the dangerous political and personal struggles that rupture the court of the Spanish King Philip II in 1658. The autocratic king’s son Don Carlos is caught between his political ideals, fostered by his friendship with the charismatic Marquis Posa, and his doomed love for his stepmother Elisabeth of Valois. These twin passions set him against his father, the brooding and tormented Philip, and the terrible power of the Catholic Church, represented in the play by the indelible figure of the Grand Inquisitor. Schiller described Don Carlos as "a family portrait in a princely house." It interweaves political machinations with powerful personal relationships to create a complex and resonant tragedy. The conflict between absolutism and liberty appealed not only to audiences but also to other artists and gave rise to several operas, not least to Verdi’s great Don Carlos of 1867. The play, which the playwright never finished to his satisfaction, lives on nonetheless among his best-loved works and is translated here with flair and skill by Flora Kimmich. Like her translations of Schiller’s Wallenstein and his Fiesco’s Conspiracy at Genoa, this is a lively and accessible rendering of a classic text. As with all books in the Open Book Classics series, it is supported by an introduction and notes that will inform and enlighten both the student and the general reader.
A comprehensive guide to Verdi's DON CARLO, featuring Principal Characters in the opera, Brief Story Synopsis, Story Narrative with Music Highlight Examples, and an insightful and in depth Commentary ...and Analysis by Burton D. Fisher, noted opera author and lecturer.
Carlism was a political movement that was joined in the Spanish Civil War on the rebellious side. However, it was opposed to the unification process decreed by Franco. This unification also involved ...the consolidation of symbology, and the emergence of the commemorative days. This happened with the Festivity of the Martyrs of the Tradition, which since 1939 suffered a duplicity. From the celebration of this festivity during the Franco’s regime, their opposition to unification and ideological redefinition process can be seen.
El carlismo fue un movimiento político que participó en la guerra civil española en el bando sublevado, pero que fue contrario al proceso de unificación decretado por Franco. Una unificación que también implicó la unificación de simbología, y entre ella de los días conmemorativos. Esto ocurrió con la Fiesta de los Mártires de la Tradición, que desde de 1939 sufrió una duplicidad. A partir de la celebración de esta festividad durante el franquismo se puede observar su oposición a la unificación y su proceso de redefinición ideológica.
La etapa comprendida entre la finalización de la escritura de Don Carlos (1787) y la de la Trilogía Wallenstein (1799) fue la más importante de la evolución intelectual y creativa de Friedrich ...Schiller. En ella el escritor detuvo su producción de dramas, leyó las tres críticas de Kant e inició una sólida y fructífera amistad con Goethe. Fue muy evidente entonces el impacto de la Revolución Francesa en el autor. Esta conmoción lo llevó a rechazar soluciones políticas de supresión del despotismo y le hizo crear su concepto de educación estética. Sin embargo, este artículo, aparte de ello, pone el foco en otros dos aspectos, que son principio y final de un itinerario, a saber, la conmoción que le produce a Schiller su creación de la figura del Marqués de Posa y el profundo cambio de las nociones de trágico y tragedia, que, gestándose en sus escritos teóricos, se manifiesta original e inquietantemente en Wallenstein.
El artículo intenta analizar un texto teórico de Friedrich Schiller, las Briefe über “Don Carlos” (Cartas sobre “Don Carlosˮ). El objetivo principal que se propone es dar cuenta de una de las ...problemáticas centrales que atraviesan la obra: la educación del estadista. Para ello ha sido necesario el abordaje de dicha fuente desde el punto de vista de su autonomía respecto de la pieza teatral a la que hace referencia, Don Carlos, Infant von Spanien, representada y publicada el año anterior. Las Briefe über “Don Carlos”, más que una defensa contra los críticos dramáticos, constituyen un ensayo de gran complejidad filosófica, marcado por la intención de mostrar la formación de un gobernante promisorio. Asimismo, la obra exhibe un proyecto de ciudadano delineado por Schiller para su propia época.
In this essay I discuss the three best-known literary contributions to the Don Carlos legend from the early nineteenth century: Manuel José Quintana's 'El Panteón del Escorial' (1805) José María ...Díaz's Felipe II (1836), and Pedro Calvo Asensio's Felipe el Prudente (1853). As I hope to demonstrate, in each of these works Don Carlos is a metaphor for Spain, and both father and son embody liberal Romantics' anxieties about the nation's political future. These plays also call attention to liberal Spain's lack of cohesion throughout the early nineteenth century.
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