Gaidāmās izrādes Šodien Uz priekšu
Iepriekšējās izrādes 2009 — vakar
Die lustige Witwe (The Merry Widow), Lehár
Opera Nationala Romana TimisoaraStage director
Skatīt dalībniekus un komanduTurandot, Puccini
Opera Nationala Romana TimisoaraSet designer + 1 lomas
Skatīt dalībniekus un komanduAdriana Lecouvreur, Cilea
Opera Nationala Romana TimisoaraStage director + 2 lomas
Skatīt dalībniekus un komanduTurandot, Puccini
Opera Nationala Romana TimisoaraCostume designer + 1 lomas
Skatīt dalībniekus un komanduDon Carlo (Italian version), Verdi
Opera Națională BucureștiStage director + 3 lomas
Skatīt dalībniekus un komanduIl trovatore (The Troubadour), Verdi
Opera Națională BucureștiStage director + 3 lomas
Skatīt dalībniekus un komanduTurandot, Puccini
Opera Nationala Romana TimisoaraSet designer + 1 lomas
Skatīt dalībniekus un komanduAdriana Lecouvreur, Cilea
Opera Nationala Romana TimisoaraStage director + 2 lomas
Skatīt dalībniekus un komanduTurandot, Puccini
Opera Nationala Romana TimisoaraCostume designer + 1 lomas
Skatīt dalībniekus un komanduDon Carlo (Italian version), Verdi
Opera Națională BucureștiStage director + 3 lomas
Skatīt dalībniekus un komanduIl trovatore (The Troubadour), Verdi
Opera Națională BucureștiStage director + 3 lomas
Skatīt dalībniekus un komanduDon Carlo (Italian version), Verdi
Bucharest National OperaStage director + 3 lomas
Skatīt dalībniekus un komanduTosca, Puccini
Bucharest National OperaStage director + 3 lomas
Skatīt dalībniekus un komanduDe Carlo chose to study at a Liceo Classico (secondary school), specialising in Greek and Latin studies and from an early age also studied pianoforte. During Liceo, he directed, set designed and designed the costumes for student productions of Sophocles’ Electra and Mozart’s The Magic Flute. To begin his University career, De Carlo moved to Rome, where he studied Italian Language and Literature, History of the Theatre and Music with Fedele D’Amico at ‘La Sapienza’ University.Subsequently, De Carlo transferred to Milan where he gained valuable and varied experience working in the studios of such well known set-builders and costume makers as Sormani and Brancato. As a set and costume designer assistant for the opera, De Carlo worked with such illustrious houses as The Fenice, Venice (Donizet