Verdi’s tale involves characters who find themselves embroiled in a tangled web of politics, sex, violence, intrigue, religion and the supernatural. In the opera’s doomed love triangle, two of the components are father and son. It sounds steamy, but in fact goes much deeper.
Don Carlo contains some of the composer’s most powerful music – music that demands much of its singers and its stagers. There is in Act III a steady stream of arias and ensemble pieces as rich as anything in the Verdi orbit. The setting is the 16th century and the Europe of King Philip II of Spain. The undercurrent of the story is war, oppression and the Inquisition; but central to it is Elizabeth of Valois, who was originally intended for Don Carlo, Philip’s son, but taken in marriage by the Spanish king himself.
Tickets are available at the UPAC box office at 602 Broadway in Kingston, (845) 339-6088; the Bardavon box office at 35 Market Street in Poughkeepsie, (845) 473-2072; and through TicketMaster, (800) 745-3000 or www.ticketmaster.com. Seats are $23 adult general admission, $21 for Bardavon members, $16 for children age 12 and under. For further information, visit www.bardavon.org.
The season continues on January 8 with Puccini’s La Fanciulla del West, and is followed with Nixon in China, from the pen of John Adams. Gluck’s Iphigénie en Tauride, which features Placido Domingo, is up next, screening on February 26, with Donizetti’s Lucia di Lammermoor right behind on March 19. The Met welcomes in spring with Rossini’s Le Comte Ory on April 9. Verdi returns to the Met via big screen when his Il Trovatore is presented on April 30. The season winds up on May 14 with Wagner’s Die Walküre.