Staatsoper Unter den Linden | Berlin

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Opera Cast Lists
Opera 2023/4 Season
Dates & times are correct at time of publishing but are subject to change, please check local sources for latest updates

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March

Berlin, Germany
Staatsoper Unter den Linden
19:00
03Sun
Berlin, Germany
Staatsoper Unter den Linden
18:00
07Thu
Berlin, Germany
Staatsoper Unter den Linden
19:30
08Fri
Berlin, Germany
Staatsoper Unter den Linden
18:00
10Sun
Berlin, Germany
Staatsoper Unter den Linden
18:00
16Sat
Berlin, Germany
Staatsoper Unter den Linden
19:30
17Sun
Berlin, Germany
Staatsoper Unter den Linden
16:00
Berlin, Germany
Staatsoper Unter den Linden
18:00
19Tue
Berlin, Germany
Staatsoper Unter den Linden
16:00
21Thu
Berlin, Germany
Staatsoper Unter den Linden
16:00
22Fri
Berlin, Germany
Staatsoper Unter den Linden
19:30
23Sat
Berlin, Germany
Staatsoper Unter den Linden
19:30
Berlin, Germany
Staatsoper Unter den Linden
16:00
Berlin, Germany
Staatsoper Unter den Linden
18:00
28Thu
Berlin, Germany
Staatsoper Unter den Linden
16:00
Berlin, Germany
Staatsoper Unter den Linden
19:30
30Sat
Berlin, Germany
Staatsoper Unter den Linden
16:00
Berlin, Germany
Staatsoper Unter den Linden
19:30

April

Berlin, Germany
Staatsoper Unter den Linden
16:00
04Thu
Berlin, Germany
Staatsoper Unter den Linden
19:30
Berlin, Germany
Staatsoper Unter den Linden
19:00
07Sun
Berlin, Germany
Staatsoper Unter den Linden
18:00
Berlin, Germany
Staatsoper Unter den Linden
19:00
Berlin, Germany
Staatsoper Unter den Linden
19:00
13Sat
Berlin, Germany
Staatsoper Unter den Linden
19:30
14Sun
Berlin, Germany
Staatsoper Unter den Linden
17:00
19Fri
Berlin, Germany
Staatsoper Unter den Linden
19:30
Berlin, Germany
Staatsoper Unter den Linden
19:30
21Sun
Berlin, Germany
Staatsoper Unter den Linden
17:00
23Tue
Berlin, Germany
Staatsoper Unter den Linden
19:30
24Wed
Berlin, Germany
Staatsoper Unter den Linden
17:00
Berlin, Germany
Staatsoper Unter den Linden
19:30
27Sat
Berlin, Germany
Staatsoper Unter den Linden
17:00
28Sun
Berlin, Germany
Staatsoper Unter den Linden
18:00
30Tue
Berlin, Germany
Staatsoper Unter den Linden
20:00

May

Berlin, Germany
Staatsoper Unter den Linden
19:00
Berlin, Germany
Staatsoper Unter den Linden
19:30
03Fri
Berlin, Germany
Staatsoper Unter den Linden
20:00
Berlin, Germany
Staatsoper Unter den Linden
19:00
05Sun
Berlin, Germany
Staatsoper Unter den Linden
14:00
05Sun
Berlin, Germany
Staatsoper Unter den Linden
18:00
Berlin, Germany
Staatsoper Unter den Linden
19:30
Berlin, Germany
Staatsoper Unter den Linden
19:00
Berlin, Germany
Staatsoper Unter den Linden
19:30
Berlin, Germany
Staatsoper Unter den Linden
19:00
Berlin, Germany
Staatsoper Unter den Linden
19:00
Berlin, Germany
Staatsoper Unter den Linden
19:30
17Fri
Berlin, Germany
Staatsoper Unter den Linden
19:00
18Sat
Berlin, Germany
Staatsoper Unter den Linden
20:00
19Sun
Berlin, Germany
Staatsoper Unter den Linden
18:00
Berlin, Germany
Staatsoper Unter den Linden
19:30
23Thu
Berlin, Germany
Staatsoper Unter den Linden
19:00
24Fri
Berlin, Germany
Staatsoper Unter den Linden
20:00
25Sat
Berlin, Germany
Staatsoper Unter den Linden
20:00
26Sun
Berlin, Germany
Staatsoper Unter den Linden
18:00
Berlin, Germany
Staatsoper Unter den Linden
19:30
31Fri
Berlin, Germany
Staatsoper Unter den Linden
19:00

June

01Sat
Berlin, Germany
Staatsoper Unter den Linden
20:00
Berlin, Germany
Staatsoper Unter den Linden
17:00
04Tue
Berlin, Germany
Staatsoper Unter den Linden
19:30
05Wed
Berlin, Germany
Staatsoper Unter den Linden
20:00
Berlin, Germany
Staatsoper Unter den Linden
18:00
07Fri
Berlin, Germany
Staatsoper Unter den Linden
19:00
08Sat
Berlin, Germany
Staatsoper Unter den Linden
19:30
Berlin, Germany
Staatsoper Unter den Linden
18:00
12Wed
Berlin, Germany
Staatsoper Unter den Linden
19:30
Berlin, Germany
Staatsoper Unter den Linden
18:00
Berlin, Germany
Staatsoper Unter den Linden
19:30
15Sat
Berlin, Germany
Staatsoper Unter den Linden
19:30
Berlin, Germany
Staatsoper Unter den Linden
18:00
Berlin, Germany
Staatsoper Unter den Linden
19:30
Berlin, Germany
Staatsoper Unter den Linden
18:00
Berlin, Germany
Staatsoper Unter den Linden
19:30
Berlin, Germany
Staatsoper Unter den Linden
19:30
Berlin, Germany
Staatsoper Unter den Linden
18:00

July

02Tue
Berlin, Germany
Staatsoper Unter den Linden
19:30
Berlin, Germany
Staatsoper Unter den Linden
19:30
Berlin, Germany
Staatsoper Unter den Linden
19:00
05Fri
Berlin, Germany
Staatsoper Unter den Linden
19:30
06Sat
Berlin, Germany
Staatsoper Unter den Linden
19:30
Berlin, Germany
Staatsoper Unter den Linden
19:00
09Tue
Berlin, Germany
Staatsoper Unter den Linden
19:30
Berlin, Germany
Staatsoper Unter den Linden
19:00
11Thu
Berlin, Germany
Staatsoper Unter den Linden
19:30
Berlin, Germany
Staatsoper Unter den Linden
19:00
14Sun
Berlin, Germany
Staatsoper Unter den Linden
18:00
Dates & times are correct at time of publishing but are subject to change, please check local sources for latest updates

Aida - 

MUSICAL DIRECTOR

Nicola Luisotti

DIRECTOR

Calixto Bieito

SET DESIGN

Rebecca Ringst

COSTUMES

Ingo Krügler

LIGHT

Michael Bauer

CHORUS MASTER

Dani Juris

DRAMATURGY

Bettina Auer , 

Christoph Lang

DER KÖNIG

Grigory Shkarupa

AMNERIS

Elīna Garanča

AIDA

Marina Rebeka

RADAMÈS

Yusif Eyvazov

RAMPHIS

René Pape

AMONASRO

Vladislav Sulimsky

PRIESTERIN

Victoria Randem

EIN BOTE

Gonzalo Quinchahua

 

Chowanschtschina - 

MUSICAL DIRECTOR

Simone Young

DIRECTOR

Claus Guth

SET DESIGN

Christian Schmidt

COSTUMES

Ursula Kudrna

LIGHT

Olaf Freese

VIDEO

Carmen Zimmermann, 

Roland Horvath

CHORUS MASTER

Dani Juris

DRAMATURGY

Yvonne Gebauer , 

Elisabeth Kühne

FÜRST IWAN CHOWANSKI

Mika Kares

FÜRST ANDREI CHOWANSKI

Najmiddin Mavlyanov

FÜRST WASSILI GOLIZYN

Stephan Rügamer

BOJAR SCHAKLOWITY

Vladislav Sulimsky

DOSIFEI

Ferruccio Furlanetto

MARFA

Marina Prudenskaya

EMMA

Evelin Novak

SCHREIBER

Steve Davislim

SUSANNA

Anna Samuil

PASTOR

Arttu Kataja

WARSONOFJEW

Roman Trekel

KUSKA

Andrés Moreno García

STRESCHNEW

Johan Krogius

ZWEI STRELITZEN

Taehan Kim,  

Friedrich Hamel

GEFOLGSMANN

N.N.

 

Daphne - 

MUSICAL DIRECTOR

Thomas Guggeis

DIRECTOR, SET DESIGN, COSTUMES, LIGHT

Romeo Castellucci

CHOREOGRAPHY

Evelin Facchini

PENEIOS

René Pape

GAEA

Anna Kissjudit

DAPHNE

Vera-Lotte Boecker

LEUKIPPOS

Linard Vrielink

APOLLO

David Butt Philip

FOUR SHEPHERDS

Arttu Kataja , 

Florian Hoffmann , 

Adam Kutny , 

Friedrich Hamel

TWO MAIDS

Evelin Novak , 

Natalia Skrycka

 

Das Rheingold - 

MUSICAL DIRECTOR

Philippe Jordan

DIRECTOR, SET DESIGN

Dmitri Tcherniakov

COSTUMES

Elena Zaytseva

LIGHT

Gleb Filshtinsky

VIDEO

Alexey Poluboyarinov

WOTAN

Tomasz Konieczny

LOGE

Rolando Villazón

FRICKA

Claudia Mahnke

ERDA

Anna Kissjudit

ALBERICH

Johannes Martin Kränzle

MIME

Stephan Rügamer

 

Der Rosenkavalier -

MUSICAL DIRECTOR

Joana Mallwitz

DIRECTOR

André Heller

SET DESIGN

Xenia Hausner

COSTUMES

Arthur Arbesser

LIGHT

Olaf Freese

VIDEO

Günter Jäckle , 

Philip Hillers

THE MARSCHALLIN PRINCESS WERDENBERG

Julia Kleiter

BARON OCHS AUF LERCHENAU

Günther Groissböck

OCTAVIAN

Marina Prudenskaya

HERR VON FANINAL

Roman Trekel

SOPHIE

Golda Schultz

MARIANNE LEITMETZERIN

Anna Samuil

VALZACCHI

Karl-Michael Ebner

ANNINA

Katharina Kammerloher

A POLICE INSPECTOR

Friedrich Hamel

HAUSHOFMEISTER BEI DER MARSCHALLIN

Florian Hoffmann

FANINAL'S MAJOR-DOMO

Gonzalo Quinchahual

A NOTARY

Dionysios Avgerinos

AN INNKEEPER

Johan Krogius

A SINGER

Andrés Moreno García

A MILLINER

Regina Koncz

 

Die Walkure -

MUSICAL DIRECTOR

Philippe Jordan

DIRECTOR, SET DESIGN

Dmitri Tcherniakov

COSTUMES

Elena Zaytseva

LIGHT

Gleb Filshtinsky

VIDEO

Alexey Poluboyarinov

HUNDING

René Pape

WOTAN

Tomasz Konieczny

BRÜNNHILDE

Anja Kampe

FRICKA

Claudia Mahnke

 

Die Zauberflote (SHARON) - 

MUSICAL DIRECTOR

Kristiina Poska

DIRECTOR

Yuval Sharon

SET DESIGN

Mimi Lien

COSTUMES

Walter Van Beirendonck

LIGHT

Reinhard Traub

VIDEO

Hannah Wasileski

SARASTRO

Friedrich Hamel

TAMINO

Magnus Dietrich

PAMINA

Serena Sáenz

PAPAGENO

Jaka Mihelač

PAPAGENA

Regina Koncz

QUEEN OF THE NIGHT

Jasmin Delfs

SPEAKER

Adam Kutny

MONOSTATOS

Florian Hoffmann

ERSTE DAME

Anna Samuil

ZWEITE DAME

Natalia Skrycka

DRITTE DAME

Anna Kissjudit

FIRST ARMOURED MAN

Johan Krogius

SECOND ARMOURED MAN

David Oštrek

FIRST PRIEST

Gonzalo Quinchahual

SECOND PRIEST

Adam Kutny

THREE CHILD-SPIRITS

Solisten des Kinderchors der Staatsoper

 

Don Carlo - 

MUSICAL DIRECTOR

Massimo Zanetti

DIRECTOR

Philipp Himmelmann

SET DESIGN

Johannes Leiacker

COSTUMES

Klaus Bruns

LIGHT

Davy Cunningham

PHILIPP II., KING OF SPAIN

René Pape

DON CARLO, INFANTE OF SPAIN

Stefan Pop

RODRIGO, MARQUIS OF POSA

Alfredo Daza

THE GRAND INQUISITOR

Falk Struckmann

A MONK

Grigory Shkarupa

ELISABETH OF VALOIS

Adriane Queiroz

PRINCESS EBOLI

Ekaterina Gubanova

TEBALDO

Regina Koncz

A VOICE FROM HEAVEN

Victoria Randem

COUNT LERMA, A HERALD

Johan Krogius

 

Don Giovanni - 

MUSICAL DIRECTOR

Marc Minkowski

DIRECTOR

Vincent Huguet

SET DESIGN

Aurélie Maestre

COSTUMES

Clémence Pernoud

LIGHT

Irene Selka

VIDEO

Robert Pflanz

DON GIOVANNI

Lucio Gallo

DONNA ANNA

Jeanine De Bique

DON OTTAVIO

Bogdan Volkov

COMMENDATORE

Antonio Di Matteo

DONNA ELVIRA

Gabriela Scherer

LEPORELLO

Riccardo Fassi

MASETTO

David Oštrek

ZERLINA

Regina Koncz

 

Don’t You Nomi? - 

DIRECTOR

Julia Lwowski

MUSICAL DIRECTOR

Roman Lemberg

SET DESIGN

Yassu Yabara

COSTUMES

Lea Søvsø

LIGHT

Simone Oestreicher, 

Irene Selka

DRAMATURGY

Elisabeth Kühne

COUNTERTENOR

Nils Wanderer

KLAVIER, SYNTHESIZER

Roman Lemberg

 

Elektra - 

MUSICAL DIRECTOR

Markus Poschner

DIRECTOR

Patrice Chéreau

SET DESIGN

Richard Peduzzi

COSTUMES

Caroline de Vivaise

LIGHT

Dominique Bruguière , 

Gilles Bottacchi

KLYTÄMNESTRA

Waltraud Meier

ELEKTRA

Ricarda Merbeth

CHRYSOTHEMIS

Vida Miknevičiūtė

AEGISTH

Stephan Rügamer

OREST

Lauri Vasar

DER PFLEGER DES OREST

David Wakeham

DIE VERTRAUTE, DIE AUFSEHERIN

Cheryl Studer

DIE SCHLEPPTRÄGERIN

Natalia Skrycka

EIN JUNGER DIENER

Siyabonga Maqungo

EIN ALTER DIENER

Olaf Bär

MAIDS

Bonita Hyman , 

Natalia Skrycka , 

Katharina Kammerloher , 

Anna Samuil , 

Roberta Alexander

 

Fidelio - 

MUSICAL DIRECTOR

Markus Poschner

DIRECTOR

Harry Kupfer

SET DESIGN

Hans Schavernoch

COSTUMES

Yan Tax

LIGHT

Olaf Freese

DON FERNANDO

Roman Trekel

DON PIZARRO

Tómas Tómasson

FLORESTAN

Andreas Schager

LEONORE

Sally Matthews

ROCCO

Christof Fischesser

MARZELLINE

Evelin Novak

JAQUINO

Florian Hoffmann

 

Gotterdammerung - 

MUSICAL DIRECTOR

Philippe Jordan

DIRECTOR, SET DESIGN

Dmitri Tcherniakov

COSTUMES

Elena Zaytseva

LIGHT

Gleb Filshtinsky

VIDEO

Alexey Poluboyarinov

SIEGFRIED

Andreas Schager

ALBERICH

Johannes Martin Kränzle

HAGEN

Stephen Milling

BRÜNNHILDE

Anja Kampe

 

Idomeneo - 

MUSICAL DIRECTOR

Pierre Dumoussaud

DIRECTOR

David McVicar

SET DESIGN

Vicki Mortimer

COSTUMES

Gabrielle Dalton

LIGHT

Paule Constable

CHOREOGRAPHY

Colm Seery

IDOMENEO

Saimir Pirgu

IDAMANTE

Anna Stéphany

ILIA

Mélissa Petit

ELETTRA

Olga Peretyatko

ARBACE

Andrés Moreno García

HIGH PRIEST OF NEPTUN

Florian Hoffmann

THE VOICE

Friedrich Hamel

KRETERINNEN, TROJANER

Maria Kokareva, 

Rebecka Wallroth, 

Gonzalo Quinchahual, 

Dionysios Avgerinos

 

Il Barbiere di Siviglia - 

MUSICAL DIRECTOR

Ido Arad

DIRECTOR

Ruth Berghaus

SET DESIGN, COSTUMES

Achim Freyer

COUNT ALMAVIVA

Siyabonga Maqungo

DOCTOR BARTOLO

Renato Girolami

ROSINA

Marina Viotti

DON BASILIO

Grigory Shkarupa

BERTA

Adriane Queiroz

FIGARO

Samuel Hasselhorn

FIORILLO

Dionysios Avgerinos

 

Jenufa - 

MUSICAL DIRECTOR

Axel Kober

DIRECTOR

Damiano Michieletto

SET DESIGN

Paolo Fantin

COSTUMES

Carla Teti

LIGHT

Alessandro Carletti

CHOREOGRAPHY

Thomas Wilhelm

OLD MRS BURYJOVKA

Hanna Schwarz

LACA KLEMEŇ

Stephan Rügamer

ŠTEVA BURYJA

Pavol Breslik

KOSTELNIČKA (SEXTONESS) BURYJOVKA

Rosie Aldridge

JENŮFA

Vida Miknevičiūtė

FOREMAN

Grigory Shkarupa

MAYOR

David Oštrek

MAYOR'S WIFE

Natalia Skrycka

KAROLKA

Maria Kokareva

HERDSWOMAN

Ekaterina Chayka-Rubinstein

BARENA

Adriane Queiroz

JANO

Victoria Randem

AUNTIE

Rebecka Wallroth

 

La Boheme - 

MUSICAL DIRECTOR

Giuseppe Mentuccia

DIRECTOR

Lindy Hume

SET DESIGN

Dan Potra

COSTUMES

Carl Friedrich Oberle

LIGHT

Franz Peter David

MIMÌ

Evelin Novak

MUSETTA

Maria Kokareva

RODOLFO

Andrés Moreno García

MARCELLO

Arttu Kataja

SCHAUNARD

Adam Kutny

COLLINE

David Oštrek

PARPIGNOL

Johan Krogius

BENOÎT, ALCINDORO

Olaf Bär

 

La Fanciulla del West - 

MUSICAL DIRECTOR

Simone Young

DIRECTOR

Lydia Steier

SET DESIGN, COSTUMES

David Zinn

LIGHT

Olaf Freese

VIDEO

Momme Hinrichs

MINNIE

Anja Kampe

DICK JOHNSON

Brandon Jovanovich

JACK RANCE

Wolfgang Koch

NICK

Stephan Rügamer

SONORA

Arttu Kataja

ASHBY

Jan Martiník

JAKE WALLACE

Grigory Shkarupa

TRIN

Siyabonga Maqungo

SID

Taehan Kim

BELLO

Adam Kutny

HARRY

Florian Hoffmann

JOE

Andrés Moreno García

HAPPY

Viktor Rud

LARKENS

David Oštrek

BILLY JACKRABBIT

Friedrich Hamel

WOWKLE

Natalia Skrycka

JOSÉ CASTRO

Dionysios Avgerinos

POSTILLION

Gonzalo Quinchahual

 

La Traviata -

MUSICAL DIRECTOR

Speranza Scappucci

DIRECTOR

Dieter Dorn

SET DESIGN

Joanna Piestrzyńska

COSTUMES

Moidele Bickel

LIGHT

Tobias Löffler

CHOREOGRAPHY

Martin Gruber

VIOLETTA VALÉRY

Pretty Yende

FLORA BERVOIX

Natalia Skrycka

ANNINA

Katharina Kammerloher

ALFREDO GERMONT

Paolo Fanale

GIORGIO GERMONT

Amartuvshin Enkhbat

GASTONE

Andrés Moreno García

BARON DOUPHOL

Benjamin Chamandy

MARQUIS D'OBIGNY

Taehan Kim

DOCTOR GRENVIL

David Oštrek

 

Le Nozze di Figaro - 

MUSICAL DIRECTOR

Marc Minkowski

DIRECTOR

Vincent Huguet

SET DESIGN

Aurélie Maestre

COSTUMES

Clémence Pernoud

LIGHT

Irene Selka

CHOREOGRAPHY

Thomas Wilhelm

COUNT ALMAVIVA

Simon Keenlyside

COUNTESS ALMAVIVA

Evelin Novak

SUSANNA

Victoria Randem

FIGARO

David Oštrek

CHERUBINO

Emily D'Angelo

MARCELLINA

Katharina Kammerloher

BASILIO

Wolfgang Ablinger-Sperrhacke

DON CURZIO

Christopher Gillett

BARTOLO

Pavlo Hunka

ANTONIO

Taehan Kim

BARBARINA

Regina Koncz

 

Les Pecheurs de Perles - 

MUSICAL DIRECTOR

Victorien Vanoosten

DIRECTOR

Wim Wenders

SET DESIGN

David Regehr

COSTUMES

Montserrat Casanova

LIGHT

Olaf Freese

LEÏLA

Olga Peretyatko

NADIR

Dmitry Korchak

ZURGA

Gyula Orendt

NOURABAD

Paul Gay

 

Lohengrin - 

MUSICAL DIRECTOR

Alexander Soddy

DIRECTOR

Calixto Bieito

SET DESIGN

Rebecca Ringst

COSTUMES

Ingo Krügler

LIGHT

Michael Bauer

VIDEO

Sarah Derendinger

HEINRICH DER VOGLER

Günther Groissböck

LOHENGRIN

Klaus Florian Vogt

ELSA OF BRABANT

Camilla Nylund

FRIEDRICH OF TELRAMUND

Wolfgang Koch

ORTRUD

Marina Prudenskaya

THE KING’S HERALD

Adam Kutny

 

Macbeth - 

MUSICAL DIRECTOR

Bertrand de Billy

DIRECTOR

Harry Kupfer

SET DESIGN

Hans Schavernoch

COSTUMES

Yan Tax

LIGHT

Olaf Freese

VIDEO

Thomas Reimer

MACBETH

Luca Salsi

BANCO

Ferruccio Furlanetto

LADY MACBETH

Anna Netrebko

KAMMERFRAU

Evelin Novak

MACDUFF

Fabio Sartori

MALCOLM

Andrés Moreno García

DOCTOR

Friedrich Hamel

MURDERER, APPEARANCE

Dionysios Avgerinos

 

Madama Butterfly - 

MUSICAL DIRECTOR

Domingo Hindoyan

DIRECTOR

Eike Gramss

SET DESIGN, COSTUMES

Peter Sykora

CIO-CIO-SAN

Sonya Yoncheva

SUZUKI

Natalia Skrycka

KATE PINKERTON

Rebecka Wallroth

BENJAMIN FRANKLIN PINKERTON

Stefan Pop

SHARPLESS

Carles Pachon

GORO

Andrés Moreno García

PRINCE YAMADORI

Taehan Kim

UNCLE BONZE

Grigory Shkarupa

COMMISSIONER

Dionysios Avgerinos

 

Medea - 

MUSICAL DIRECTOR

Christophe Rousset

DIRECTOR

Andrea Breth

SET DESIGN

Martin Zehetgruber

COSTUMES

Carla Teti

LIGHT

Olaf Freese

MÉDÉE

Marina Rebeka

JASON

Stanislas de Barbeyrac

CRÉON

David Oštrek

DIRCÉ

Maria Kokareva

NÉRIS

Natalia Skrycka

FIRST HANDMAIDEN OF DIRCÉ

Regina Koncz

SECOND HANDMAIDEN OF DIRCÉ

Ekaterina Chayka-Rubinstein

 

Médée - 

MUSICAL DIRECTOR

Simon Rattle

DIRECTOR

Peter Sellars

SET DESIGN

Frank Gehry

COSTUMES

Camille Assaf

LIGHT

James F. Ingalls

CHORUS MASTER

Dani Juris

DRAMATURGY

Antonio Cuenca Ruiz, 

Detlef Giese

MÉDÉE

Magdalena Kožená

JASON

Reinoud Van Mechelen

CRÉON

Luca Tittoto

CRÉUSE

Carolyn Sampson

CLÉONE

Angela Hicks

ORONTE

Gyula Orendt

NÉRINE, BELLONE, FANTOME

Markéta Cukrová

LA JALOUSIE

Gonzalo Quinchahual

LA VENGANCE

Dionysios Avgerinos

 

Melancholy of Resistance - 

MUSICAL DIRECTOR

Marie Jacquot

DIRECTOR

David Marton

SET DESIGN

Amber Vandenhoeck

COSTUMES

Pola Kardum

DRAMATURGY

Detlef Giese

MADAME ESZTER

Tanja Ariane Baumgartner

JÁNOS VALUSKA

Philippe Jaroussky

MADAME PFLAUM

Sandrine Piau

GYÖRGY ESZTER

Matthias Klink

A POLICE INSPECTOR

Thomas Oliemans

 

Mitridate, Re di Ponto - 

MUSICAL DIRECTOR

Marc Minkowski

DIRECTOR

Satoshi Miyagi

SET DESIGN

Junpei Kiz

WANDDESIGN

Eri Fukazawa

COSTUMES

Kayo Takahashi Deschene

LIGHT

Irene Selka

CHOREOGRAPHY

Yu Otagaki

MITRIDATE, KING OF PONTUS

Siyabonga Maqungo

ASPASIA

Ana Maria Labin

SIFARE

Elsa Dreisig

FARNACE

Carlo Vistoli

ISMENE

Caroline Jestaedt

MARZIO

Sahy Ratia

ARBATE

Adriana Bignagni Lesca

 

Rigoletto - 

MUSICAL DIRECTOR

Giedrė Šlekytė

DIRECTOR

Bartlett Sher

SET DESIGN

Michael Yeargan

COSTUMES

Catherine Zuber

LIGHT

Donald Holder

DUKE OF MANTUA

Pene Pati

RIGOLETTO

Alfredo Daza

GILDA

Aida Garifullina

SPARAFUCILE

Grigory Shkarupa

MADDALENA

Elena Maximova

GIOVANNA

Rebecka Wallroth

MONTERONE

Adam Kutny

MARULLO

Taehan Kim

BORSA

Gonzalo Quinchahual

COUNT CEPRANO, A COURT USHER

Dionysios Avgerinos

COUNTESS CEPRANO, A PAGE

Maria Kokareva

 

Rusalka - 

MUSICAL DIRECTOR

Robin Ticciati

DIRECTOR

Kornél Mundruczó

SET DESIGN, COSTUMES

Monika Pormale

LIGHT

Felice Ross

CHORUS MASTER

Gerhard Polifka

DRAMATURGY

Kata Wéber , 

Christoph Lang

RUSALKA

Christiane Karg

PRINCE

Pavel Černoch

FREMDE FÜRSTIN

Anna Samuil

WASSERMANN

Mika Kares

JEŽIBABA

Anna Kissjudit

HEGER

Roman Trekel

KÜCHENJUNGE

Clara Nadeshdin

DREI ELFEN

Regina Koncz , 

Rebecka Wallroth, 

Ekaterina Chayka-Rubinstein

JÄGER

Adam Kutny

 

Schneewittchen - 

MUSICAL DIRECTOR

Symeon Ioannidis

DIRECTOR

Constanze Albert, 

Gail Skrela

SET DESIGN

Claudia Noack

COSTUMES

Ingrid Leibezeder

LIGHT

Simone Oestreicher

CHOREOGRAPHY

Gail Skrela

SCHNEEWITTCHEN

Regina Koncz

RUPERT (JÄGER), KÖNIGSSOHN

Zachary Wilson

DIE BÖSE KÖNIGIN

Olivia Stahn

EMMA, CHAMBERMAID

Rebecka Wallroth

DWARFS AND FOREST SPIRITS

MITGLIEDER DES KINDERCHORS DER STAATSOPER

 

Siegfried - 

MUSICAL DIRECTOR

Philippe Jordan

DIRECTOR, SET DESIGN

Dmitri Tcherniakov

COSTUMES

Elena Zaytseva

LIGHT

Gleb Filshtinsky

VIDEO

Alexey Poluboyarinov

SIEGFRIED

Andreas Schager

MIME

Stephan Rügamer

THE WANDERER

Tomasz Konieczny

ALBERICH

Johannes Martin Kränzle

ERDA

Anna Kissjudit

BRÜNNHILDE

Anja Kampe

 

Sleepless - 

MUSICAL DIRECTOR

Peter Eötvös

DIRECTOR

Kornél Mundruczó

SET DESIGN

Monika Pormale

COSTUMES

Monika Pormale

LIGHT

Felice Ross

ALIDA

Victoria Randem

ASLE

Linard Vrielink

MOTHER, MIDWIFE

Katharina Kammerloher

OLD WOMAN

Hanna Schwarz

GIRL

Sarah Defrise

INNKEEPER

Jan Martiník

MAN IN BLACK

Tómas Tómasson

BOATMAN

Roman Trekel

JEWELER

Andrés Moreno García

ASLEIK

Jaka Mihelač

SEXTETTE

Samantha Britt , 

Nicole Hyde , 

Yingsi He , 

Kristín Anna Guðmundsdóttir , 

Kirsten-Josefine Grützmacher , 

Alexandra von Roepke , 

Gonzalo Quinchahual, 

Sotiris Charalampous , 

Florian Hoffmann , 

Dionysios Avgerinos, 

Rory Green , 

Friedrich Hamel

 

The Timeless Moment - 

DIRECTOR, SET DESIGN, COSTUMES

Silvia Costa

MUSIKALISCHES KONZEPT, KLAVIER

Alain Franco

SOUND DESIGN

Nicola Ratti

LIGHT

Marco Giusti

SET DESIGN ASSISTANCE

Michele Taborelli

DRAMATURGY

Christoph Lang

 

Tosca - 

MUSICAL DIRECTOR

Andrés Orozco-Estrada

DIRECTOR

Alvis Hermanis

SET DESIGN, COSTUMES

Kristīne Jurjāne

LIGHT

Gleb Filshtinsky

TOSCA

Maria Agresta

CAVARADOSSI

Michael Fabiano

SCARPIA

Christopher Maltman

ANGELOTTI

Friedrich Hamel

SACRISTAN

Jan Martiník

SPOLETTA

Florian Hoffmann

SCIARRONE

Dionysios Avgerinos

JAILER

Taehan Kim

SHEPHERD

Solist des Kinderchors der Staatsoper

 

Turandot - 

MUSICAL DIRECTOR

Rafael Payare

DIRECTOR, SET DESIGN

Philipp Stölzl

MITARBEIT REGIE

Philipp M. Krenn

COSTUMES

Ursula Kudrna

LIGHT

Philipp Stölzl , 

Irene Selka

CHOREOGRAPHY

Christopher Tölle

TURANDOT

Liudmyla Monastyrska

ALTOUM

Florian Hoffmann

TIMUR

René Pape

CALAF

Fabio Sartori

LIÙ

Adriana González

PING

Gyula Orendt

PANG

Andrés Moreno García

PONG

Siyabonga Maqungo

A MANDARIN

Adam Kutny

 

Violetter Schnee - 

MUSICAL DIRECTOR

Matthias Pintscher

DIRECTOR

Claus Guth

SET DESIGN

Étienne Pluss

COSTUMES

Ursula Kudrna

LIGHT

Olaf Freese

VIDEO

Arian Andiel

SILVIA

Anna Prohaska

NATASCHA

Clara Nadeshdin

JAN

Gyula Orendt

PETER, A BROOM-MAKER

Jaka Mihelač

JACQUES

Otto Katzameier

TANJA

Martina Gedeck

 

 

Dates & times are correct at time of publishing but are subject to change, please check local sources for latest updates

Aida - Aida is an enslaved woman in the Egyptian court, who is actually the princess of Ethiopia, a rival nation. She harbors romantic feelings for Radamès, the Egyptian military leader. Her father, Amonasro, manipulates her to gain insight into the military tactics of his enemies. Concurrently, Amneris, the daughter of the Egyptian king, is also in love with Radamès and goes to great lengths to eliminate her competition. All characters are under the control of a merciless group of priests and warriors.

"Aida" was first performed in Cairo in December 1871, during the peak of European imperialism and the onset of African colonization. Interestingly, Verdi's musical composition suggests that his intention was not to create a historical narrative, but rather to critique a cruel society. In his rendition of "Aida," director Calixto Bieito emphasizes the intimate, chamber-play-like sections of the opera, as well as the tension between the political context of the opera's creation and contemporary times.

 

"Chowanschtschina" is a national folk drama by Modest Mussorgsky that focuses on a dark chapter of Russian history in the late 17th century. The plot revolves around Ivan Khovansky, the head of the musketeer corps (streltsy), and his son Andrei, who are plotting a conspiracy. However, the power-hungry Prince Vasily Golitsyn, the boyar Shaklovity, and the clergyman Dosifey also become entangled in the power struggle.

While still working on "Boris Godunow", Mussorgsky started contemplating a new opera project in 1872. Encouraged by the writer Vladimir Stasov, he began to delve deeply into the events of the Streltsy Uprising against Tsar Peter I and Sofia Alekseyevna. Mussorgsky expressed his enthusiasm for gathering material, likening his mind to a constantly replenished kettle in a letter to his librettist Stasov. The composer often strayed from historical facts to forge new dramaturgical links and juxtapose the political drama with the realm of personal, romantic complications.

Mussorgsky, unfortunately, did not live to complete the score, passing away in 1881. Thanks to Nikolai Rimsky-Korsakov's efforts, who not only orchestrated the work but also removed or significantly revised large parts, "Khovanshchina" was performed years later. It was only in the early 1930s that a piano version of the original score was published, which also served as the foundation for the re-instrumented version of Claus Guth's production under the musical direction of Vladimir Jurowski.

 

Daphne is a character who feels out of place in her world, embodying nature and finding human desires and behaviors strange. Apollo and Leucippus, both infatuated with Daphne, attend Dionysus' feast. Leucippus executes his plan, leading Daphne to lose herself in the festivities. Apollo, under Leucippus' influence, realizes too late that he has defied his divine fate and Daphne's nature. "Daphne" is among Richard Strauss' final operas, drawing its narrative from ancient mythology as recounted by Ovid and Plutarch, among others. This tale has often been depicted in art, music, and literature. In "Daphne", Strauss merges symphonic music with lyrical chamber music-style passages to create a compelling musical drama. Despite its beauty, "Daphne" is seldom performed today. This new production is directed by Romeo Castellucci, known for his potent visual language that fuses music, light, and visual arts.

 

Das Rheingold - In "Das Rheingold," the Nibelung dwarf Alberich steals the Rhinegold from the Rhinemaidens to forge a ring that grants "unlimited power." Wotan, the godfather, is compelled to act. He robs the Nibelungs' treasure with the help of Loge, the crafty fire god, to compensate the giants Fasolt and Fafner for constructing the Valhalla castle. Alberich curses the ring and all its future possessors, setting the tragedy in motion. "The Rheingold" serves as the foundation of Wagner's monumental "Ring" tetralogy, which took him approximately a quarter of a century to compose. This fast-paced and breathless "eve" of the stage festival introduces major themes through the action and music. Wagner's grand family saga evolves into a comprehensive epic about power and love, war and peace, and the beneficial and disastrous effects of passions, which remains highly relevant today.

 

"Der Rosenkavalier" is a tale of aristocratic family disputes in Vienna. The uncouth Baron Ochs auf Lerchenau disrupts a private meeting between his cousin, the Marschallin, and her young lover Octavian, seeking her assistance with his financially-motivated wedding plans. Unbeknownst to Ochs, Octavian, who is chosen to present the engagement rose, ends up falling for the bride-to-be. After his dramatic operas "Salome" and "Elektra," which were based on ancient myths, Richard Strauss turned to a lighter, more jovial material reminiscent of Mozart's comic operas. His shift in style was complemented by Hugo von Hofmannsthal's libretto, which crafted a fictitious, rococo Vienna complete with convincing yet imaginary customs and dialects, further enhanced by Strauss' anachronistic waltzes. This vibrant, witty, and class-bound Vienna, tinged with melancholy and morbidity, reflects not only the 18th century but also the waning belle époque. Strauss' score, rich in orchestral colors and unrestrained indulgence, reaches its peak in the unparalleled final section, but also reveals deep fractures. "The Rosenkavalier," composed just a few years before the fall of the Habsburg monarchy, serves as a poignant farewell to an entire era.

 

Die Walkure - In "Die Walküre," Wotan seeks to consolidate his power through his progeny, the twins Siegmund and Sieglinde, who he believes are the ideal candidates. Destiny unites them one day, but their love becomes a source of discomfort for Wotan's wife, Fricka, and Wotan himself is emotionally conflicted. When his beloved daughter, the Valkyrie Brünnhilde, rebels against him, he puts her into a deep sleep, surrounding her with a ring of fire that only the fearless can penetrate.

In this part of the story, humans make their first appearance and Wagner essentially restarts his narrative. The music also shifts, mirroring the intense emotions that are increasingly dominating the scene. Wagner crafts deep psychological dialogues and notable instrumental pieces like the "Walkürenritt" and "Feuerzauber," which are among the musical highlights of the "Ring" tetralogy and have a profound impact. With the "Walküre" score, composed in the mid-1850s, Wagner elevates his music to new levels, endowing the orchestra with exceptional communicative abilities. This allows for the development and integration of multiple layers of meaning into the work. Not only do the human pair, Siegmund and Sieglinde, evoke empathy, but the divine entities also do, as they think, feel, and act in very human ways.

 

Die Zauberflote - In "Die Zauberflöte" by Sharon, Prince Tamino falls for a portrait of Pamina, the daughter of the Queen of the Night, who is imprisoned by Sarastro. Commissioned by the Queen, Tamino and his friend Papageno embark on a mission to liberate Pamina from Sarastro's temple. Upon their arrival, they grapple with discerning who is virtuous and who is wicked. The only certainty is Pamina's reciprocated love for Tamino.

This opera by Wolfgang Amadeus Mozart, his most renowned, is also his most cryptic, merging the contrasting realms of popular Viennese theatre and Enlightenment philosophical drama. Yuval Sharon's production, which features Mimi Lien's set and Walter Van Beirendonck's imaginative costumes, revolves around the concept of a collage, much like Mozart's music that perpetually fluctuates between popular theatre, singspiel, and opera seria styles. Sharon delves into Viennese machine comedy and puppet theatre, where Heinrich von Kleist saw the lost "natural grace" of humanity. In Sharon's interpretation, a child's imagination is the puppeteer.

Alongside this rendition of the "Magic Flute," the Everding production, a staple in the Staatsoper repertoire, will continue, offering two distinct viewpoints on the most frequently performed German-language opera.

 

"Don Carlo" tells the story of Philip II of Spain, a ruler of a global empire who is deeply troubled. Not only is he fearful of losing his power, but he also feels betrayed by his wife, Elizabeth von Valois, who is in love with his son, Carlo. The ominous shadow of the Inquisition looms over everything. Despite his efforts, King Philip finds no trust in a world filled with hostility.

Verdi, known for adapting several of Schiller's dramas into vibrant operas, accomplished this notably with "Don Carlo." Initially, he composed a French grand opera version, followed by an Italian melodrama. The opera juxtaposes grand scenes featuring the chorus and ensemble with chamber music passages, often taking the form of psychologically insightful duets. These moments allow the characters to explore each other's intentions and reveal their deepest emotions. Amidst the web of intrigue, lies, and deception, there are moments of light, such as when friendship and love are pledged with powerful honesty. Verdi's "Don Carlo" is a grand opera of state affairs and emotions, filled with dramatic intensity and inspired music.

 

Don Giovanni - E.T.A. Hoffmann referred to Mozart's "Don Giovanni" as the "opera of all operas." Since its debut in Prague in 1787, the piece has been widely acclaimed and toured throughout Europe. Mozart utilized his full musical prowess for this work, and his collaborator, Lorenzo Da Ponte, successfully revitalized the familiar tale with his unique interpretation. The stage is filled with distinct characters, each expressing a wide range of emotions. Humorous scenes are interspersed with unsettling and demonic ones. The narrative takes a tragic turn when the protagonist, Don Giovanni, faces death. Despite having only eight performers, the opera presents a vast world that showcases the power of music and theatre. "Don Giovanni" is the pinnacle of the Mozart/Da Ponta trilogy, a joint effort by director Vincent Huguet and conductor Daniel Barenboim.

 

"Don't You Nomi?" is a tribute to Klaus Nomi, a pioneering German countertenor who hailed from the Allgäu region of Germany and made his mark in New York. His unique blend of opera, pop, and New Wave, coupled with his distinctive retro-futuristic aesthetic, made him a sensation in the New York underground scene. His talent caught the attention of David Bowie, who invited him to perform on the NBC show Saturday Night Live, contributing to his breakthrough. However, before Nomi could fully enjoy his hard-earned artistic recognition, he tragically became one of the first high-profile victims of AIDS, dying alone and impoverished. Director Julia Lwowski, a 2022 nominee for the German theatre prize, pays homage to this extraordinary artist and his lifelong quest for recognition, belonging, and identity in her production.

 

"Elektra" by Richard Strauss is a haunting call from a mythical past, filled with chilling darkness and primitive brutality. The listener is drawn into the world of Electra, a world dominated by grief, pain, and a burning desire for revenge. The daughter of the king of Mycenae, Electra is humiliated and tormented by her family, dedicating her life to a single, obsessive goal: to avenge her father's murder. Strauss, in collaboration with his librettist Hugo von Hofmannsthal, creates a musical and psychological portrait that is deeply moving in its expressiveness and overwhelming in its tonal force.

 

"Fidelio" tells the story of Leonore, who, disguised as a man, secures a job in a prison where she believes her husband Florestan is being held. After two years of absence, Florestan, unjustly imprisoned by Governor Pizarro, is found in the deepest dungeon. Leonore, driven by love, courageously rescues him, leading to a reunion filled with "boundless joy". Ludwig van Beethoven's only opera, "Fidelio", inspired by a French libretto, underwent several revisions before becoming one of the central operatic works of the Classical period, celebrated for its well-rounded characters and memorable moments.

 

Götterdämmerung  - In "Götterdämmerung", the Norn's rope of destiny shatters, the world crumbles, and the gods passively observe their impending doom. Power struggles ensue among the people, with Brünnhilde and Siegfried becoming entangled in them, largely instigated by Hagen, the son of Alberich, the ring's original owner. Siegfried's death, while tragic, signals the onset of a disaster that brings with it the promise of a fresh beginning.

This opera by Wagner marks the finale of his monumental four-part work, conceived amidst the revolution of 1848/49 and completed in 1874 after several attempts and a lengthy hiatus. The narrative and musical elements are intricately and artistically interwoven. Some nearly forgotten plotlines are revived, contributing to the dramatic tension that culminates in the final resolution. Wagner's initial concept for a heroic epic titled "Siegfrieds Tod" served as the foundation for "Götterdämmerung", which he later expanded. Drawing inspiration from Norse myths and legends, Wagner gradually developed the backstory, merging the realm of the gods with that of humans. In doing so, he reflected the era he lived in and provided audiences with ample room for their own interpretations and contemplations.

 

Idomeneo - In "Idomeneo", King Idomeneo is forced to make a regrettable vow to Neptune amidst a storm off the coast of Crete. If the furious god allows him to safely reach the shore, he pledges to sacrifice the first person he encounters. Upon landing, he is met by his son, Idamante, and it appears the relentless divine world is intent on enforcing the king's pledge.

The tempest, powerfully depicted in Mozart's music, not only rages in the natural world but also within each character. Whether it's the father and son, or the foreign princesses Ilia and Elettra who yearn for brighter days post the traumatic war, all are subject to the whims of nature and emotion, as vividly portrayed in Mozart's score. "Idomeneo", which revitalized the opera seria genre, marks the beginning of the Staatsoper series of Mozart's mature operas. Commissioned in 1781 for the exceptional ensemble of the Munich Residenztheater, Mozart utilized his full musical spectrum for this expansive and ambitious work. Despite his hopes of securing a new position and leaving Salzburg with this piece as his portfolio, Mozart's sheer determination resulted in an extraordinary score featuring demanding arias, individual vignettes, a virtuoso orchestral part, and some of Mozart's most impressive choral scenes.

 

Il Barbiere di Siviglia  - In "Il Barbiere di Siviglia", the affluent Count Almaviva, under the alias "Lindoro", has captured the heart of the stunning Rosina. However, Rosina's envious guardian, Dr Bartolo, has intentions to wed her himself and attempts to ward off her suitors. Luckily, "Lindoro" is assisted by the shrewd barber Figaro, who skillfully orchestrates a series of intricate deceptions and disguises.  Rossini, at the tender age of 23, composed "Il barbiere di Siviglia" in a mere three weeks. The opera, brimming with wit, passion, and energy, is a classic example of Italian opera buffa, where the elderly man in disguise often outsmarts everyone. Rossini drew inspiration from the 1772 play "La Précaution inutile ou le Barbier de Séville" by French poet, spy, and arms dealer Pierre-Augustin Caron de Beaumarchais, which serves as a prequel to Mozart's "Le nozze di Figaro". Rossini's comically portrayed characters, the exceptional solo performances, stirring melodies, and dynamic ensembles come to life in Ruth Berghaus's timeless 1968 production (featuring Achim Freyer's innovative yet simple stage design). Overflowing with vitality and comedic situations, it retains its youthful vigor and freshness even after more than 350 performances.

 

"Jenufa" portrays the story of a young woman, Jenůfa, who is subjected to the strict morals of her village community. She is pregnant by her lover Števa, who abandons her and withdraws his marriage proposal. After the birth of the child, Jenůfa's stepmother, the village sextoness, is concerned about their reputations and future. When Laca, another suitor, proposes to Jenůfa, the sextoness believes that life would be better for all without the child...

Leoš Janáček's third opera, which resonates with the folk music of his native Moravia, was his first major success and was dubbed "Moravia's national opera". Janáček's music is unique in its exploration of psychological extremes leading to violence and infanticide, and its unflinching exposure of characters' emotions, yet without passing judgment. The opera concludes with an act of forgiveness, a seemingly impossible moral after the numerous horrific revelations and confessions of guilt, reflecting Janáček's humanist perspective. "Jenůfa" (or "Její pastorkyňa" - "Her Stepdaughter" in Czech) holds a special connection with the Staatsoper Unter den Linden: its Berlin premiere in 1924 ensured its success on the German stage. The exploration of Janáček's major works continues with "Jenůfa", following "From the House of the Dead", "Katya Kabanova", and the "Glagolitic Mass" in previous seasons.

 

"La Boheme" tells the story of the impoverished poet Rodolfo and his three artist friends who, depending on the demand for their work, oscillate between poverty and luxury. When their neighbor Mimì, a delicate young woman, enters their attic one day, Rodolfo is instantly smitten. However, Mimì's illness brings the struggling artists face-to-face with harsh reality. 

Puccini and his librettists, through a series of loosely connected scenes, not only narrate a tragic love story but also depict the bohemian subculture of 19th-century Paris. They portray the bohemians' quest for artistic and social freedom, their self-perception as the bourgeoisie's antagonists, and their daily life that swings between indulgence and survival. Puccini, who himself lived this lifestyle during his studies, crafted a new form of veristic melodrama in this opera. His evocative and expressive score paints a realistic and detailed picture of the bohemians' world and their inner lives. Lindy Hume presents the opera as a nostalgic look back at a fleeting, carefree youth, using poetic imagery.

 

"La Fanciulla del West" is set in California during the peak of the Gold Rush, a time when the dreamland turns into a harsh wilderness ruled by survival of the fittest. The only haven of peace is Minnie's bar, a place cherished by gold diggers and sternly overseen by the tough Sheriff Rance. However, when Minnie falls for a stranger who is later revealed to be the infamous bandit Johnson, the delicate balance of the community is disrupted. Despite Giacomo Puccini's other operas like "La Bohème", "Tosca", and "Madama Butterfly" being more popular, "La Fanciulla del West", which premiered at the New York Metropolitan Opera in 1910, offers a unique portrayal of a society filled with hardship and broken dreams. Puccini was particularly proud of the sophisticated tones in his score, which even Anton von Webern, who was not known for his fondness for Italian opera, praised for its originality and surprising beats.

 

"La Traviata" revolves around Violetta Valéry, a high-class courtesan in Paris who has deviated from the path of righteousness, leading a life that swings between grandeur and destitution. She treats everything, including love, as a game until Alfredo Germont stirs genuine emotions within her. However, her newfound happiness is short-lived due to her battle with tuberculosis, leading to public humiliation and her eventual demise. Giuseppe Verdi, in his only opera based on a contemporary theme, Alexandre Dumas the Younger’s "La dame aux camélias", composed a deeply intense score that encapsulates a spectrum of emotions from joy and vitality to grief and despair. The audience is drawn into the narrative, feeling directly impacted by Violetta's fate. As the final piece of the "trilogia populare", "La Traviata", which premiered in 1853 and was first performed at Unter den Linden in 1860, overcame initial doubts to become a globally successful opera. Dieter Dorn's production depicts Violetta as a woman marked for death from the outset, who nonetheless resists her destiny, ultimately fading away almost like a wisp of smoke.

 

"Le nozze di Figaro" is widely recognized as a quintessential musical comedy. The opera, crafted by the young Wolfgang Amadeus Mozart and his librettist Lorenzo Da Ponte, is a groundbreaking work filled with energy, rapid plot twists, numerous challenges, and a score that beautifully expresses both deep sensitivity and lively spirit. Director Vincent Huguet and conductor Daniel Barenboim take audiences on a temporal journey with Mozart's three Da Ponte operas, showcasing the evolution and transformation of characters. In "Figaro", which is the second part of this trilogy, the setting is the 1980s, bringing to life the unique style and charm of the era. The opera balances fast-paced humor with reflective melancholy. The intricate art of differentiation, so brilliantly displayed in Mozart's work, is mirrored in both the musical and scenic presentation. The other two Da Ponte operas, "Così fan tutte" and "Don Giovanni", will be staged in the 2021/22 season as the first and third parts of this specially conceived trilogy for the Staatsoper.

 

"Les Pecheurs de Perles" unfolds in a distant island paradise, where Georges Bizet narrates a tale of a love triangle complicated by deep friendship. Zurga and Nadir, who are close friends, were once almost separated due to their shared affection for Leïla, a priestess of Brahma. Despite their vow to give up their love for the attractive young woman, neither this promise nor Leïla's chastity vow can prevent her and Nadir from succumbing to desire when they meet again. When they are discovered by the high priest, it is up to Zurga, as the leader of the pearl fishers' village, to decide their fate. Caught between friendship and jealousy, between a thirst for revenge and a sense of duty, Zurga is torn over whether to execute the oath-breakers. "Les pêcheurs de perles" marked Bizet's emergence as an opera composer at the age of 25, a full 12 years before he achieved worldwide acclaim with "Carmen". Drawing inspiration from the popular exoticism of the time, he composed a score with vibrant instrumentation, captivating melodies, and potent theatre music, which is expressed in both grand choral tableaus and intimate scenes between the main characters. The opera's dramatic and musical fulcrum is the renowned duet "Au fond du temple saint" between Zurga and Nadir, a masterpiece that has largely contributed to the rediscovery of this seldom-performed opera.

 

"Lohengrin" centers around Elsa von Brabant, who is charged with the murder of her brother. When no one steps forward to defend her innocence in this enigmatic case, a man enters her life, vowing to champion her cause under one stipulation: Elsa must trust him unconditionally and never inquire about his name or origins. However, a scheme tempts Elsa to break her vows. The man's response uncovers his divine lineage and restores Elsa's brother, but at a significant cost. Wagner composed "Lohengrin" during a period of drastic revolutionary shifts. Premiered in Weimar in 1850 under Franz Liszt's direction, the opera explores the necessity to counter societal reality with a utopian one that refuses to sacrifice love, honesty, and justice for blind civic obedience. Wagner drew inspiration from Wolfram von Eschenbach’s "Parsifal" epic, tales by the Brothers Grimm, and various fairy tale compilations. Spanish opera and theatre director Calixto Bieito, known for guiding audiences through his works with a "spirit of presence," makes his debut at the Staatsoper Unter den Linden with this grand romantic opera.

 

"Macbeth" follows the story of the victorious Commander Macbeth who is prophesied to become the King of Scotland. Under the influence of his wife's insinuations, he stops at nothing to make the prophecy come true. However, their guilt leads the Macbeths into a spiral of delusions, becoming victims of their own power hunger. Giuseppe Verdi's "Macbeth" stays true to the revered Shakespearean play, breaking the operatic norms of its time to create one of his most chilling and unsettling works. The opera features grand choral scenes that reflect the social repercussions of tyranny and despotism, contrasting with deeply expressive arias and duets that delve into the emotional depths of the power-driven protagonists. To portray the complex motives and emotions of his characters, Verdi demanded an unprecedented level of performance from his actors. The vocal parts, rather than showcasing virtuosic brilliance, are designed to highlight language and acting aspects, ruthlessly reflecting the specific psychological states of the characters. This marked a significant shift from the bel canto ideal towards a unique musical-dramatic authenticity.

 

"Madama Butterfly" tells the story of Lieutenant Pinkerton who falls for a geisha named Cio-Cio-San, also known as Madama Butterfly. He marries her following Japanese customs, but without intending to commit long-term. However, Butterfly genuinely loves Pinkerton and bears his child. She waits for him for years, but when he finally returns, he brings his new American wife to take the child, leading Butterfly to take her own life.

 

"Medea" is a timeless myth that remains strikingly relevant today. The main character, originating from the fringes of the known world, is a conspicuous outsider in a civilized nation. She disrupts peace and order, transforming into a despised, vengeful harbinger of death and destruction. The narrative of Medea, Jason, and the Golden Fleece has been frequently staged in both opera houses and theatres since the era of ancient tragic poets, including in Paris around 1800. Luigi Cherubini, a native of Florence, arrived in the French capital in the 1780s with the aim of establishing himself as an opera composer. His 1797 opera "Medée" was a significant success, which continued into the next century. The dramatic amplification of Maria Callas' performance in the 1950s brought renewed interest to the piece. Inspired by the ancient tragic operas of Gluck, Cherubini, who stayed in Paris and became one of the most distinguished composers of his era, crafted this work of deep solemnity and epic expression. The opera includes notable scenes for the protagonist, expertly composed choral and ensemble movements, and atmospheric preludes to each of the three acts. However, once Medea enters, the titular heroine dominates the stage with her mesmerizing presence.

 

"Médée" by Marc-Antoine Charpentier is a work that was highly acclaimed even during its time, showcasing exceptional mastery in the period following the death of Lully, the founder of French opera. This opera offers valuable insights into the art of composition, the interplay between text and music, and the portrayal of a complex tragic event that deeply moves the audience. Charpentier's opera stands out for its blend of French classicism and Italian melodic charm, and its extraordinary range of expression and tone. Each character is vividly portrayed, as is the drama itself, directed by Peter Sellars. A connection is made from mythical times to the present, emphasizing once again the enduring relevance and influence of ancient Greek mythology in today's world.

 

"Melancholy of Resistance" is set in a small town that is stuck in a state of stagnation. The routines of daily life have become uncertain and the future seems bleak. However, the arrival of a peculiar circus with strange characters offers a potential diversion. The star of the show is a three-eyed duke, but his intentions are far from providing amusement: he plans to annihilate the town's inhabitants...

The opera's libretto, penned by Guillaume Métayer, is inspired by the 1989 novel of the same name by Hungarian author László Krasznahorkai. Known for his apocalyptic narratives, Krasznahorkai presents a dark allegory of the contemporary state of Eastern Europe. The music is composed by Marc-André Dalbavie, a French composer recognized for his contributions to spectral music. His compositions are known for their exploration of various musical expressions and the emphasis on timbre and sensory experience. For the premiere, Hungarian director David Marton has crafted a film opera where the boundaries between reality and fiction are blurred.

 

Mitridate - "Mozart was just 14 when he was tasked with composing a grand opera seria, "Mitridate, Re di Ponto," for the esteemed Teatro Regio Ducale in Milan. This opera, based on a tragedy by French playwright Jean Racine, tells the tale of a fading king and warrior, whose two contrasting sons are both in love with their father's bride. This narrative inspired Mozart to create music filled with deep pathos, intense passions, and profound emotions. While the score is rooted in tradition, it also showcases a musical prowess that foreshadows Mozart's future brilliance. The opera's debut in late 1770 was a resounding success for the young composer. A Japanese production team, under the direction of Satoshi Miyagi, infuses Mozart's "Mitridate" with a mystical atmosphere, bridging different worlds together."

 

"Rigoletto" is based on Victor Hugo's play "Le roi s’amuse," which was banned after its first performance in Paris in 1832. Nearly two decades later, Italian composer Giuseppe Verdi faced censorship when he decided to adapt the play into a musical piece. He was forced to rename his melodrama from "La maledizione" ("The curse") to "Rigoletto" and shift its setting to the court of a fictional Duke of Mantua. However, he retained the plot's audacity. Rigoletto, the protagonist, encourages the Duke to seduce and kidnap beautiful women, mocking their families. After dishonoring a woman, her father curses Rigoletto in front of the entire court. Despite his efforts to protect his daughter Gilda from the Duke's debauchery, she falls for the Duke's charms. Rigoletto then plots a deadly revenge, but it is Gilda, not the Duke, who becomes the victim. The famous tenor piece "La donna è mobile" serves as a cynical symbol of failure. Verdi's first mature work intertwines the trivial, the grotesque, and high pathos, creating a masterpiece of striking brevity and sharpness.

 

"Rusalka" tells the story of a water nymph who falls in love with a prince, a love that seems impossible. In her quest to be with him, she sacrifices her voice and changes her form. However, the question arises: Can Rusalka live against her true nature? Can a love that requires one to deny their identity truly endure? The libretto, penned by Jaroslav Kvapil, draws from various fairy tales and myths, creating a psychological and symbolist narrative. Antonín Dvořák's rich and vibrant score, which marked his first success in opera, is a masterful composition that invites a multitude of interpretations. Kornél Mundruzcó, who recently directed the award-winning opera "Sleepless" by Peter Eötvös, highlights the contemporary relevance of the story in his rendition. The opera is both a drama about a woman's soul and a modern fairy tale that explores themes of identity and physicality.

 

"Schneewittchen" is a well-known fairy tale by the Grimm brothers, featuring an evil stepmother, her envy of Snow White's beauty, seven dwarves, and a poisoned apple. This tale has been adapted in numerous ways, including a lesser-known adaptation by Engelbert Humperdinck, the composer of the opera "Hänsel und Gretel." In 1888, prior to his famous fairy tale opera, Humperdinck began work on a song-play based on Snow White, with a libretto written by his sister Adelheid Wette. However, the project was left incomplete, with only four songs surviving. In 2016, Austrian composer Wolfgang Mitterer, known for his Grimm brothers’ opera "Das tapfere Schneiderlein," decided to complete Humperdinck's unfinished work using the original libretto. For the missing parts, Mitterer incorporated music from Humperdinck's other fairy tale operas, "Hänsel und Gretel," "Dornröschen," and "Die Königskinder." Mitterer's version combines Humperdinck's original music with a completely different electronic soundscape. The opera features four singers in various roles, and the seven dwarves are portrayed by children from the Staatsoper's children’s choir, who assist Snow White in her battle against the wicked queen.

 

"Siegfried" is the tale of a young and energetic man, the offspring of Siegmund and Sieglinde, who was brought up by the cunning Nibelung dwarf, Mime. Unaware of his parentage, Siegfried only has remnants of his father's sword. He reforges this into a formidable weapon, which he uses to defeat the dragon Fafner, who had been guarding a ring that Siegfried now claims. He also awakens and wins the heart of Brünnhilde. This third installment of Wagner's "Ring" tetralogy weaves fairy-tale elements into its epic mythological narrative, with echoes of "The Story of the Youth Who Went Forth to Learn Fear" and the medieval "Nibelungenlied". Wagner's musical prowess vividly brings to life natural scenes and activities, such as forest rustling, fire and thunderstorms, and forging. The gods make their final appearance, with a once mighty Wotan now disguised as a wanderer and the once omniscient Erda now ignorant of world events. The future appears to be in the hands of Siegfried and Brünnhilde, but a tragic end seems unavoidable.

 

"Sleepless" is a tale set in the cold, rainy city of Bergen, Norway, where a desperate and heavily pregnant Alida and her partner Asle find themselves unwelcome and adrift. In their desperation, they break into a stranger's house, leading to a series of mysterious and surreal encounters. This opera, composed by influential Hungarian conductor-composer Peter Eötvös, is based on a short story by Norwegian writer Jon Fosse. The libretto, written by Mari Mezei, weaves together themes of existential longing, crime as a reaction to indifference, and the struggle of feeling out of place, creating a suggestive, operatic stream of consciousness. The world premiere also marks the debut at the Staatsoper Unter den Linden of Hungarian film, theatre and opera director Kornél Mundruczó, known for his realistic works that often tackle contemporary social issues.

 

"The Timeless Moment" is a sensory fusion of works by Impressionist Claude Debussy and Tristan Murail, a key figure in spectral music. Debussy, often borrowing the term "image" from the fine arts for his series of works, pioneered new soundscapes and expressions for the piano at the dawn of modernity. Murail, on the other hand, focuses on the listening experience as the foundation for composition, exploring the sound spectrum in its entirety. His work "Territoires de l’ouubli" is a unique piece where resonance, overtones, and timbres continuously evolve. The conversation between the two composers delves into our perception when we listen. The audience is immersed in a world of darkness, experiencing the music with all their senses. Sounds transform into visual landscapes that traverse inner worlds, transcending the biases of sight.

 

"Tosca" is a gripping tale of love, jealousy, and political intrigue set in Rome. The story revolves around the revolutionary painter Mario Cavaradossi, who aids a political fugitive, and his lover, the renowned singer Floria Tosca. Tosca's jealousy is manipulated by the ruthless police chief Scarpia, who seeks to capture Cavaradossi. Scarpia proposes a deal to Tosca: her lover's freedom in exchange for a night with her. Puccini's opera, set against the backdrop of the conflict between Napoleon's Revolutionary Army and the Habsburg and papal forces, is a dramatic masterpiece that transports audiences to the heart of Rome. The production by Alvis Hermanis shifts the setting to 1900, the year of the opera's premiere, and features a richly detailed graphic novel that unfolds alongside the plot.

 

"Turandot" tells the story of Princess Turandot, a fiercely independent woman who sets riddles for her potential suitors, with the penalty of death for incorrect answers. This strategy keeps her free from marriage until a man arrives who can solve her riddles. This opera, the last work of Giacomo Puccini, was left unfinished at his death and was completed by his friend, Franco Alfano. Puccini's "Turandot" introduces a unique blend of East Asian melodies, aiming to evoke the sounds of the ancient Chinese Empire. The opera's surreal visuals, directed by Philipp Stölzl, are influenced by Dark Romanticism.

 

"Violetter Schnee" is a tale of five individuals trapped in an unending snowstorm, a world in crisis. Jacques, one of the group, embraces the snowfall and the void it brings, engaging in a dialogue with the snow and its eerie effects. Peter and Silvia, on the other hand, are filled with dread and pessimism. Jan and Natascha strive to maintain hope and stay active, believing in the dawn of a new era. Communication becomes increasingly challenging for all of them, as they lack the words to describe their alienating experience. The arrival of a stranger, Tanja, initially sparks joy, but soon leads to profound isolation. She serves as a projection screen or a memory space; Jacques sees his deceased wife in her, touching the thin line between life and death. However, nothing is more potent than the sun. The group is wiped out in the violet glow of the snow. Beat Furrer, a Swiss composer and recipient of the Ernst von Siemens Music Prize, is regarded as one of the most significant contemporary composers. His numerous musical theatre works focus on the relationship between language and sound. "Violetter Schnee" contemplates existential experiences of alienation and loss of language in the face of impending disaster, translating these experiences into a suggestive musical and linguistic structure.

 

"Werckmeister Harmonien" is a reflection on the quest for order amidst chaos, inspired by the works of musician and theorist Andreas Werckmeister. His attempts to bring unity to the confusion of instrumental tuning in the 17th century serve as a metaphor for the human desire to find order in creation. This theme is explored through the lens of Swiss theatre artist Thom Luz, whose work often delves into the mysteries of the world and the everyday problems that ensnare us. Luz, in collaboration with musician Mathias Weibel, creates a unique theatrical expression that blends silence, movement, text, and music into atmospheric spatial scores.