Staatsoper Unter den Linden | Berlin
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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
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.