Also translated for the Citizens' Company by Robert David MacDonald, Schiller's 'Mary Stuart' is acknowldged masterpiece. The fifth play included in this edition was the source fro the opera by Donizetti (Maria Stuarda). The dedication of the renowned Glasgow-based Citizens' Company and the inspired decision to present the plays alongside Verdi's operas at the Edinburgh International Festival have gone a long way to remedy this neglect. Recorded following the Octoperformance of 'Don Carlo', LA Opera Music Director James Conlon and Dr.
Yet in the English-speaking world Schiller's works are comparatively little known to theatregoers. Schiller's nobility of theatrical concept perfectly suited the energy and majesty of Verdi's scores. Both men were deeply preoccupied with the battle for political freedon, projecting the moral victory of the doomed individual over the power of the immutable State as potent historical drama. That Verdi based four of his operas on Schiller's plays is not surprising (I masnadieri, Giovanna d'Arco, Luisa Miller, Don Carlos). The following week, Massimo Zanetti leads a splendid interpretation of Luisa Miller, based on Friedrich Schillers Kabale und Liebe. In John Rafter Lee’s adaptation, he’s described as a “hothead,” and for sound reason: He’s in love with his former fiancee, Elizabeth of Valois (Alyce LaTourelle), who has married Carlos’ father, the rigid Spanish king, Phillip II (Tom Fitzpatrick).Johann Christoph Friedrich von Schiller (1759-1805) ranks as one of the greatest figures in European drama and literature. Prince Carlos (Christian Leffler) is recently back from university. The “Hamlet” parallels are many Schiller knew his Shakespeare. It’s a fascinating, unstable work, and after one too many OK productions of “Hamlet” or somesuch, it’s an especially welcome theatrical tonic. Most American audiences have never seen it (Verdi’s opera gets more mileage). In America, Friedrich Schiller is a different, rarer story.Įvidence Room’s staging of “Don Carlos,” Schiller’s 1787 historical tragedy, blows the dust off a seldom-revived classic. Familiarity doesn’t always breed contempt-the great plays are riddles, with more than one answer hidden in their shadows-but it’s no antidote, either. Here it comes, you find yourself thinking: Another title from the World Drama’s Greatest Hits list, a golden oldie you’d really rather not see again until, say, next year.
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