Search results for "WA 0821 7001 0763 (FORTRESS) Pintu Baja Fortress Mother And Son Baula Kolaka"

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  Il trovatore

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  [...] Azucena had to witness her mother being burned as a witch. In revenge, she kidnapped the younger of the two sons of the old Count di Luna, who ordered her mother’s burning, but in her delirium she threw her own son onto the flames instead of the Count’s son. Years later, the new Count di Luna, the brother of the kidnapped child, and the »Troubadour« Manrico, the supposed son of Azucena, not only fight on opposing sides in a civil war, but also encounter each other because they both love the lady-in-waiting Leonora. (...) Dramma lirico in four acts (1853) Music by Giuseppe Verdi Text by Salvatore Cammarano and Leone Emanuele Bardare after Antonio García Gutiérrez (...) For some time now, the old Azucena has been tortured by memories of her mother’s fiery death. She tells her wounded son Manrico how she once kidnapped the son of the count, but then threw her own child into the flames because she was left bewildered by the death of her own mother. Manrico thus begins to realize that he could not be Azucena’s son, but she successfully distracts him with prevarications.A messenger arrives: Manrico is to defend the fortress Castellor. [...]

• Event

  Symphoniekonzert IV

  Next dates:

  • 12.01.27 7.00 PM - Staatsoper Unter den Linden
  • 13.01.27 8.00 PM - Philharmonie Berlin - Großer Saal

  [...] Infusing classical forms with a new Romantic spirit and giving sound and expression new dimensions were hallmarks of his creative work. This is evident both in his ingenious overture to Shakespeare’s A Midsummer Night’s Dream — the work of a seventeen-year-old — and in the concert overture Meeresstille und glückliche Fahrt from 1828, a musical reflection on two atmospherically very different poems by the revered Johann Wolfgang von Goethe. In the Reformations-Symphonie, however—composed in 1830 to mark the 300th anniversary of the Augsburg Confession in 1830 and premiered two years later with the Berlin Court Orchestra under his own direction, a serious, solemn tone emerges, while the quotations included—the “Dresden Amen” and Luther’s chorale “A Mighty Fortress”—point to the sacred realm. (...) Felix Mendelssohn Bartholdy Meeresstille und glückliche Fahrt op. 27 Concert for Violin and string orchestra d-Moll Ouverture to Ein Sommernachtstraum op. 21 Symphony No. 5 d-Moll op. 107 Reformations-Symphonie [...]

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  Katja Kabanowa

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  [...] An unhappily married woman tries to break free from the prison of conventions and tragically perishes; a cold-hearted mother-in-law is more concerned with upholding tradition than with the happiness and well-being of her son and his wife; and a nephew has to endure his merchant uncle’s berating. Once more, with great meticulousness and care, Janáček studied the tone with which people from different backgrounds and of unequal social status express themselves and communicate. (...) Kudrjáš warns Boris against this love. Katya, her husband Tichon, her mother-in-law (Kabanicha), and Varvara (Kabanicha’s foster daughter) are departing from mass with their servants Glaša, Grunja, and the bigoted Fekluša. Without responding, he accepts the demands of his mother, who forces him to control Katya’s behavior during his absence. In an authoritarian tone, Kabanicha gives her instructions, which are dutifully followed by her son, whom she then orders to depart.ACT TWOKabanicha, Katya, Varvara and their servants have gathered at the table. [...]

• Event

  Swan Lake

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  [...] In Patrice Bart's version, it is Siegfried's mother who loves her son tremendously, pulling the strings of his fate. Unscrupulously, she manipulates his friend Benno and uses Prime Minister Rotbart as her accomplice. In reference to the imperial Russian House of Romanov, oppressive defeatism spreads characterised by emotional coldness and decadence. In his encounter with the swans, the young prince finds refuge. The mighty birds' profound impact is expressed through large-scale swan formations choreographically inspired by their archaic flight patterns and natural, yet surreal beauty. (...) Choreography by Patrice Bart after Ivanov and Petipa Music by Peter I. Tschaikovsky [...]

• Event

  Love, you son of a bitch

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  [...] Alessandro Scarlatti settles a score with love and its pitfalls in one of his cantatas, in which he calls love the »brutto figlio de pottana« (ugly son of a bitch). Hardly any other composer, on the other hand, ignored the cultural traditions, laws and conventions of the basso continuo age as radically as his son Domenico Scarlatti. The music-theatre performance of the Italian sound and video artist, DJane and performer Letizia Renzini combines music with various artistic genres and media to create a scenic-installative sculpture. (...) A SCARLATTI PROJECT MUSIC THEATRE PERFORMANCE by Letizia Renzini with music by Alessandro and Domenico Scarlatti [...]

• Event

  Swan Lake

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  [...] Using the medium of classical dance, Swan Lake tells the story of Prince Siegfried and his love for the enchanted Princess Odette, who is trapped in the body of a swan. Alternating between swan and human, it is her destiny to be the object of the fantasies of the unhappy prince. In Patrice Bart’s interpretation, it is Siegfried’s mother who adores her son and holds all the threads of his fate in her hands. Without scruples, she manipulates his friend Benno and uses Prime Minister Rotbart as her accomplice. [...]

• Event

  Salome

  Next dates:

  • 10.01.27 6.00 PM - Staatsoper Unter den Linden
  • 14.01.27 7.30 PM - Staatsoper Unter den Linden
  • 17.01.27 6.00 PM - Staatsoper Unter den Linden

  [...] Raised in an environment lacking in moderation and inhibition, the eccentric Princess Salome is fascinated by the otherness of the ethical and ascetic Prophet Jochanaan, whom her mother Herodias and her lecherous stepfather Herod keep imprisoned. In doing so, he captures not only Salome’s mental decline and seductive powers with the sweeping sounds of the orchestra, but also her emotional coldness and Jochanaan’s impassioned accusations in a thrilling and disturbing way. (...) She is fascinated by Jokanaan, who is now brought down to the ground. Salome wants to speak to him and demands that he be brought to her in violation of Herod’s commands. The soldiers refuse at first, but Narraboth is unable to resist Salome’s enticements and orders that Jokanaan be brought to her.Scene 3 Oscar Wilde enters the scene and frees the prophet. Jokanaan steps forward and emphatically explains his worldview. He accuses Herod and Herodias of sin and evildoing. Salome, fascinated by the prophet, tries to approach him. [...]

• Event

  Idomeneo

  Next dates:

  • 17.06.27 7.00 PM - Staatsoper Unter den Linden
  • 19.06.27 7.00 PM - Staatsoper Unter den Linden
  • 27.06.27 6.00 PM - Staatsoper Unter den Linden

  [...] Be it father and son, be it the two foreign princesses Ilia and Elettra, who hope for better days after the traumatic war – they are all at the mercy of natural forces and emotion, which the score by the then 25-year-old Mozart strikingly illustrates. »Idomeneo«, which completely revived the genre of the opera seria, opens the Staatsoper series of Mozart’s mature operas. Written in 1781 as a commissioned work for the outstanding ensemble of the Munich Residenztheater, he drew on his full musical range for this extensive and ambitious work. Mozart did not fulfil his hope of finding a new position and leaving Salzburg with this piece as his calling card. (...) Not only the loss of family and home has driven her to despair, she has also fallen in love with Idomeneo’s son, the Cretan prince Idamante who saved her from the water. From her warm words about the prince, Idomeneo deduces the love between the two and realizes that his oath not only threatens his own fate and that of his son, but that of Ilia as well. [...]

• Event

  Siegfried

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  [...] Siegfried, the son of Siegmund and Sieglinde, is young and dynamic an. Raised by the devious Nibelung dwarf, Mime, he does not know his parents. Natural imagery such as the famous "Waldweben" testify to Wagner’s special skill at painting pictures with music; fire and thunderstorms, smelting, forging and other activities, are vividly evoked. The gods appear one last time: Wotan, once so powerful, has disguised himself as a wanderer and hardly intervenes in the action anymore. (...) Second day of Der Ring des Nibelungen (1876) Text and music by Richard Wagner (...) Many years after the events described in The ValkyrieAct one Siegfried, the son of Sieglinde und Siegmund, was raised by Mime. Mime calls him his son, but Siegfried doesn’t believe him and is annoyed with himself that he always returns to his constantly nagging guardian. Finally, Mime is forced to tell him: one day he found an exhausted woman named Sieglinde and brought her to his home, where she gave birth to a son and died soon thereafter. Before dying, the mother named the child and left him his inheritance: his father’s broken sword, Nothung. [...]

• Event

  Don Carlo

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  [...] He commands a world empire and yet he is deeply unsettled. Philip II of Spain not only fears losing command but also feels betrayed and deserted by his wife Elizabeth von Valois: she and his son Carlo are in love. Here, the characters mutually probe and size each other up, as well as revealing their innermost feelings. Intrigue is spun, people lie and deceive one another – but sometimes light, too, breaks through the darkness, for instance when friendship and love are sworn with compelling power and honesty. (...) Opera in four acts (1867/1884) Music by Giuseppe Verdi Text by François Joseph Méry and Camille du Locle after Friedrich von Schiller (...) Posa calls on Elizabeth and gives her a letter allegedly written by her mother. At the same time, he slips her a letter from Carlo. Both pledge loyalty to their political ideal: the liberation of Flanders. A shot rings out, and Posa is mortally wounded. Dying, he tells Carlo that Elizabeth is waiting for him. Philip wants to forgive his son, but Carlo rejects his attempt. [...]

• Event

  Idoménée

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  [...] Neptune, the sea god, only agrees to let King Idoménée survive a storm unscathed when the king promises to show his gratitude by sacrificing the first person he encounters on his native shores. When that victim-to-be turns out to be his own son Idamante, Idoménée finds himself in an irreconcilable conflict between his paternal feelings, his duties as a monarch and his religious obligations. The whirlwind of divine complications consumes not only father and son, king and prince, but also the rivalling princesses Ilione and Électre. Following the conventions of the tragédie lyrique genre, the work’s scope extends beyond human passions. (...) TRAGÉDIE EN MUSIQUE IN A PROLOGUE AND FIVE ACTS (1712/1731) Music by André Campra Text by Antoine Danchet (...) However, when her boat got caught in distress at sea and was saved by Idoménée’s son Prince Idamante, she fell in love with him, something that her pride should forbid. Proteus announces that a sea monster will hinder departure and wreak devastation everywhere. But Idoménée would prefer to offer himself as a sacrifice in place of his son. [...]

• Event

  Preußens Hofmusik I

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  [...] On four Sunday afternoons, the Apollo-Saal will be filled with the sound of Baroque and Early Classical music, with works by Johann Sebastian Bach and his sons, and by Graun and Hasse – composers who dominated the repertoire of the opera house in the era of Frederick the Great – as well as compositions by Stamitz, Handel and Telemann, for additional European emphasis. (...) Johann Philipp KirnbergerOVERTuRE E MINOR Johann Gottlieb GraunCONCERTO FOR VIOLA AND STRINGSCONCERTO FOR VIOLINE, VIOLA AND STRINGS Carl Philipp Emanuel BachSYMPHONY E-FLAT MAJOR Johann Sebastian BachCONCERTO FOR TWO VIOLINS AND STRINGS D MINOR BWV 1043 [...]

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  Preußens Hofmusik II

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  [...] On four Sunday afternoons, the Apollo-Saal will be filled with the sound of Baroque and Early Classical music, with works by Johann Sebastian Bach and his sons, and by Graun and Hasse – composers who dominated the repertoire of the opera house in the era of Frederick the Great – as well as compositions by Stamitz, Handel and Telemann, for additional European emphasis. [...]

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  Preußens Hofmusik III

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  [...] On four Sunday afternoons, the Apollo-Saal will be filled with the sound of Baroque and Early Classical music, with works by Johann Sebastian Bach and his sons, and by Graun and Hasse – composers who dominated the repertoire of the opera house in the era of Frederick the Great – as well as compositions by Stamitz, Handel and Telemann, for additional European emphasis. [...]

• Event

  Preußens Hofmusik IV

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  [...] On four Sunday afternoons, the Apollo-Saal will be filled with the sound of Baroque and Early Classical music, with works by Johann Sebastian Bach and his sons, and by Graun and Hasse – composers who dominated the repertoire of the opera house in the era of Frederick the Great – as well as compositions by Stamitz, Handel and Telemann, for additional European emphasis. [...]

• Event

  Elektra

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  [...] Like a call issuing from a mythical distant past, Richard Strauss’ Elektra summons the magic of eerie gloom and archaic brutality. An almost inevitable 'tremendous increase to the very end' (Strauss) in musical tension plunges the listener deep into Electra’s world, which is shaped by grief, pain, and thirst for vengeance. Humiliated and tormented by her family, Electra, the daughter of the king of Mycenae, devotes her life to a single obsessive goal: day in and day out, she invokes the memory of her father, who was murdered treacherously by her mother Clytemnestra and Clytemnestra’s lover Aegisthus, and she waits for the return of her brother Orestes, who is supposed to avenge his father’s murder. (...) The mother asks her daughter what remedy could restore her sleep and Elektra reveals that a sacrifice may indeed free her from her nightmares. Elektra goes on to describe with frenzied elation how her mother will succumb under Orestes’ blows. Then the court is trown into a panic: two strangers have arrived and ask to be seen; a few words are whispered to the Queen, who immediately leaves without saying a single word to Elektra.Chrysosthemis is the one who comes to bear the terrible news: Orestes had died. [...]

• Artist

  Ga Young Son

• Artist

  Eric Ander

• Event

  Hänsel und Gretel

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  [...] The children of the poor broom-maker have spent the day playing and larking about rather than helping with the household chores, even accidentally wasting the only food that their mother can provide. He turned the original "Nursery Dedicatory Festival Drama", written by his sister Adelheid Wette, into a humorous tale which addresses the fears and fantasies of both adults and children with a great feeling for poetry, while its compositional depth ultimately outgrows the initial framework of a simple children’s opera. (...) Fairytale play in three tableaus (1893) Music by Engelbert Humperdinck Text by Adelheid Wetteaccording to the fairy tale by Jacob and Wilhelm Grimm (...) Act OneHansel and Gretel are alone at home and are supposed to be working, but they try to drive away their hunger by dancing. In great jubilation, the father and mother finally find their children.  [...]

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  Words and Music

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  [...] Samuel Beckett wrote his radio play »Words and Music« in November 1961, but the next year, shortly after it was broadcast by the BBC, he withdrew it. For Feldman it was »to some extent a labour of love, which I happily undertook«, and so »Words and Music« was first performed in1987, the year Feldman died, at the American Beckett Festival of Radio Plays. (...) CRAS LUCEBITFOR FAGOT AND ELECTRONICS (2010) Music by Pedro Garcia-Velasquez Words and MusicRadio play for two speakers and chamber ensemble (1987) Music by Morton Feldman Text by Samuel Beckett (...) Radio play for two speakers and chamber ensemble by Morton Feldmann and Samuel Beckett [...]

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  Samson et Dalila

  Next dates:

  • 13.09.26 6.00 PM - Staatsoper Unter den Linden

  [...] Hostility, hatred and religious wars, power, helplessness and desire: in the Hebrew struggle for freedom, Samson, as God’s chosen one, rebukes the hostile Philistines. The opera, which premiered in Weimar in 1877 under the baton of Franz Liszt, is one of the most popular Romantic French-language operas, with its lyrical descriptions and great choral tableaux. Despite its successful premiere in German translation, Saint-Saëns did not achieve his breakthrough with Samson et Dalila until 1890, and then only indirectly, in his native France. [...]

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  Gods and Dogs

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  [...] The confrontation of the individual with reality and their attempts to overcome or avoid difficulties are key themes in Jiří Kylián's work. Gods and Dogs (2008) explores this thought process by reflecting on the way we dress and the underlying motives that lead us to prefer one garment over another: «We spend our whole lives wearing clothes like masks and changing and altering them depending on the circumstances and how others see us.» Suitable for ages 8 and above (...) Gods and Dogs / Angels’ Atlas [...]

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  Götterdäm­merung

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  [...] The Norn’s rope of destiny breaks, the world falls apart and the gods idly watch their own demise. People fight to claim power. Brünnhilde and Siegfried are drawn into these power struggles, essentially initiated by Hagen, the son of the ring’s first owner, Alberich. Wagner’s Götterdämmerung is the concluding chapter of his monumental four-part opus, which he conceived in the light of the revolution of 1848/49 and completed in 1874 after numerous attempts and a long interruption. In many ways, the thematic and musical threads are intertwined in a highly artistic and complex manner. (...) Third day of Der Ring des Nibelungen (1876) Text and music by Richard Wagner (...) Gunther agrees to become his brother-in-law, but in return Siegfried should convince Brünnhilde to marry him. Siegfried agrees and reaffirms his alliance with Gunter, swearing their brotherhood in blood. Hagen, Alberich’s illegitimate son, wants Siegfried’s help to obtain the ring that his father told him about, which grants endless power.Scene two Brünnhilde is surprisingly visited by the Valkyrie Waltraute, who reports to her that Walhall is in decline. Brünnhilde tries to escape, but he overcomes her, tears the ring off her finger and forces her to follow him.Act two In the nightly darkness, Hagen’s son Alberich appears to him, trying to convince his son to take hold of the ring, now in Siegfried’s possession. [...]

• Page

  Gifts and bequets

  [...] Maybe Frederick the Great in his Opera Unter den Linden already listened to the same music as you do today and as your descendants will do tomorrow. Opera is an art form rich in tradition and at the same time nascent all over again through the ages. It connects past, present and future as hardly any other art form does. If you have the wish to provide lasting support for the Staatsoper, you have several possibilities:  You can make a gift to the Friends and Supporters of the Staatsoper Unter den Linden or include a charitable bequest in your will. [...]

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  Mitridate, Re di Ponto

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  [...] Mozart joined their ranks with a remarkable opera based on a play by Jean Racine, the French dramatist of tragedies. The story of a declining king and warlord, whose two very different sons are in love with the same woman – who also happens to be the father’s bride – inspired Mozart to create a music of great pathos, strong passions and profound emotions. A Japanese production team led by director Satoshi Miyagi suffuses Mozart’s »Mitridate« with a magical ambience and brings different worlds together. (...) Mitridate doesn’t believe him at first.Despite her contrary inclination, Aspasia wants to fulfill her duty and marry Mitridate. Mitridate realizes that it is Sifare whom she truly loves. He sees himself as betrayed and announces his desire to take terrible revenge against Aspasia and his two sons. Close to death, but joyous, he reacknowledges Farnace, who bravely fought the Romans, as his true son. Mitridate dies, forgiving all. His two sons, Aspasia, Ismene, and Arbate all promise never to surrender to Rome. [...]

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  STRAUSS SERENADES AND SONATINES CD RELEASE CONCERTO

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  Chowanscht­schina

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  [...] Ivan Khovansky, leader of the musketeer corps (streltsy), and his son Andrei, are planning a conspiracy, but the ambitious Prince Vasily Golitsyn, the boyar Shaklovity and cleric Dosifey also get involved in the struggle for power. In many places, the composer deviated from historical accuracy to create new dramaturgical connections and contrast the political drama with the sphere of personal, amorous entanglements.Mussorgsky was unable to complete the score before his death in 1881. (...) A national music drama in five acts (1886) Music and text by Modest Mussorgsky  In Dmitri Schostakowitsch's version with Igor Stravinsky’s finale [...]

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  King Arthur

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  [...] The British and the Saxons are fighting for supremacy. Some draw strength from their Christian faith and from their powerful army under the leadership of King Arthur; others adhere to pagan cults and hope that their king, Oswald, will be victorious. The setting moves between dream and reality, old legends and contemporary events, and is filled with inspiration and melancholy. (...) It’s young Arthur’s eighth birthday, and family and friends have arrived to celebrate. Arthur misses his father, who died as a soldier. The mother mourned his death for a long time, but now wants to move on. The mood gets increasingly jolly. Young Arthur is brought to bed. His mother reads him the rest of the story. On their way home, Emmeline and Mathilda are surprised by two strangers: Oswald and Osmond. [...]

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  Between surrealism and romanticism

  [...] In the ‘opéra fantastique’ Les Contes d'Hoffmann (The Tales of Hoffmann), the boundaries between reality and dreams, between love and art, between life and death become blurred. Offenbach draws on a play by Jules Barbier and Michel Carré, who in turn incorporate motifs from the darkly romantic stories of E. The story's setting on the threshold between life and death, between this world and the next, ultimately leads us back to E. T. A. Hoffmann and his tales, which reveal a pronounced fascination with the worlds of dreams and fantasy. [...]

• Event

  Sonderkonzert „Musik aus fernen Rundfunktagen“

  Next dates:

  • 06.02.27 6.00 PM - Staatsoper Unter den Linden
  • 07.02.27 11.00 AM - Staatsoper Unter den Linden

  [...] The program spans a wide range, from Berlin operetta—represented by composers such as Paul Lincke, Eduard Künneke, and Paul Abraham—to film and promenade music. The vibrant musical culture of the Imperial era and the Weimar Republic is highlighted, featuring pieces that are partly well-known but also rarely heard today—works that rightly belong to the category of “sophisticated light music” and were firmly established in the radio repertoire in many ways. [...]

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  Die Sache Makropulos

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  [...] A documentary account of a bizarre complex inheritance dispute, a crime drama, a meta-opera featuring a singer playing a singer, a treatise on the sense and nonsense of human immortality. 'The Makropulos Affair' is all of the above. With inexplicably detailed background knowledge, opera diva Emilia Marty inserts herself into a century-long inheritance dispute and recklessly exploits her irresistibility to men for her own cryptic purposes. In his operatic adaptation, Janáček transforms the aloof frigidity and irony of Karel Čapek’s original play into a veritable tragedy that provokes sympathy for its unapproachable, weary and emotionally impoverished lead character. (...) Věc Makropulos Opera in three acts (1926) Music and text by Leoš Janáček after the eponymous play by Karel Čapek (...) Strangely, Marty is able to explain exactly where the will could be found and what it stipulates: that Baron Prus left his estate to the illegitimate son Ferdinand Gregor. His mother was a singer named Ellian MacGregor. And finally Prus’ son Janek, who has just learned that his fiancé Krista wants to break off with him for art. [...]

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  Madama Butterfly

  Next dates:

  • 10.10.26 7.00 PM - Staatsoper Unter den Linden
  • 16.10.26 7.00 PM - Staatsoper Unter den Linden
  • 18.10.26 6.00 PM - Staatsoper Unter den Linden

  [...] Lieutenant Pinkerton has fallen in love with the geisha Cio-Cio-San, known as Madama Butterfly, and wants to marry her according to Japanese custom without entering into a permanent relationship. But Butterfly truly loves Pinkerton and has a child by him. Giacomo Puccini incorporated the exoticism of Japan’s setting and its music far more than through mere colonialist appropriation. He studied sources of Japanese music, integrated original songs into his score and was inspired to write sophisticated instrumentation and distinctive timbres. (...) ​Tragedia giapponese in three acts (1904) Music by Giacomo Puccini ​Text by Giuseppe Giacosa and Luigi Illica after David Belasco (...) She then shows Sharpless the child she bore after Pinkerton’s departure, insisting that he will come to his son and to her. Sharpless promises to tell Pinkerton about the child. – Suzuki pushes Goro into Butterfly’s house. Pinkerton finds the situation unbearable and leaves. – Butterfly wakes up. She understands what they want of her. She asks that Pinkerton pick up his son himself. – Butterfly bids farewell to her child and then kills herself. [...]

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  Die Walküre

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  [...] Wotan wants to secure power through his descendants. The twins Siegmund and Sieglinde seem to be the perfect choice. One day, fate brings them together. However, for Wotan’s wife Fricka, the sibling’s love is a thorn in her side, and even Wotan himself feels emotionally torn. In this section, humans appear for the first time and Wagner restarts his story to some extent. The music takes on a new tone, too, reflecting the powerful feelings that are taking up more and more space with great expression and emphasis. (...) First day of Der Ring des Nibelungen (1870) Text and Music by Richard Wagner (...) One day, he and his father returned home to discover that it had been burned down; his mother had been killed and his sister abducted. But Brünnhilde predicts that she will bear Siegmund’s son, in which the boldness of the father will return. Now Sieglinde passionately begs to be saved, just as passionately as she had longed for death, and that the Valkyries assist a mother-to-be. [...]

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  Les Contes d’Hoffmann

  Next dates:

  • 03.03.27 7.00 PM - Staatsoper Unter den Linden
  • 05.03.27 7.00 PM - Staatsoper Unter den Linden
  • 08.03.27 6.00 PM - Staatsoper Unter den Linden

  [...] Jacques Offenbach composed more than 100 operas and operettas, most of them with unique wit and biting satire, original and inspired. At the end of his illustrious career in Paris, which stretched over five decades, he turned to his most ambitious operatic work Les Contes d’Hoffmann (The Tales of Hoffmann), an opéra fantastique based on a play that premiered in 1881. Hoffmann, finds himself among his own stories, fascinated equally by art and by love, attracted by the female characters and duped by his rivals. Director Lydia Steier with her team and the conductor Bertrand de Billy will collaborate to produce an opulent scenic and musical realization. (...) Insight before the premiere on 10th November 2025 Age recommendation: as of 16 years The production contains depictions of sexuality and exaggerated representations of the phallus. (...) But her father forbids singing, because her mother, a celebrated opera singer, died from a mysterious illness that was triggered by singing. To protect her, Crespel imprisons her and orders his deaf servant Frantz not to let anyone in the house. Antonia struggles, but when the image of her dead mother appears to her, she cannot resist: she begins to sing, and dies.Act Four Marked by Antonia’s death, Hoffmann decides to foreswear romantic love. (...) "The Staatskapelle Berlin under the baton of Bertrand de Billy – sensitive, never overblown, yet following every twist and turn of the production with precision."(rbb 24 Inforadio) "A grand magic-theater spectacle. And the cast of singers is fantastic."(Tagesspiegel) [...]

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  Medea

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  [...] The protagonist comes from the periphery of the known world and is a visible stranger in a civilised country; she disturbs peace and order, and becomes a hateful, avenging angel of death and destruction. Since the period of the ancient tragic poets, the material of Medea, Jason, and the Golden Fleece has often been staged in both opera houses and theatres alike, including around 1800 in Paris. (...) Her father Créon insures Jason that he will protect his sons and by no means to surrender them to Acastus who – after Médée’s disappearance—wants to avenge Pelias’s death against them. Médée reminds Jason that he owes his victories to the same crimes and sacrifices that she is now ostracized for. She pleads with him not to reject “the mother of his sons,” but to no avail. [...]

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  Family workshop: Romeo and Juliet

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  [...] Before the performance we offer children and their families an age-based introduvtion into the production. We will tell you the plot, present the different characters to you and dance some steps from the original choreography. (...) Introduction in the production "Romeo and Juliet" [...]

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  Dido & Aeneas

  Next dates:

  • 25.11.26 7.30 PM - Staatsoper Unter den Linden
  • 27.11.26 7.30 PM - Staatsoper Unter den Linden

  [...] Dido’s famous lament, with which she ends her life, and the opera draws to a close, and where an entire world is evoked in a few words, demonstrates Purcell’s extraordinary expressiveness. Song, performance and dance combine to create a special form of opera. (...) Opera in a prologue and three acts (1689) Music by Henry Purcell Text by Nahum Tate based on Book IV of Virgil’s "Aeneid" (...) At the bottom of the sea he discovers the sunken city of Carthage.Act one At the palace, Arrival of the royal courtTrojan hero Aeneas has managed to save his small son Ascanius and carries his father from the ruins of burning Troy. Zeus has commissioned him to sail to Italy and found a new Kingdom with his comrades. Their leader commands the destruction of Carthage as punishment for the irresponsible behaviour of Dido and Aeneas. A witch reports that Dido and Aeneas are hunting. The witch is ordered to disguise herself as Mercurius and announce Jove’s decision to Aeneas that he has to set sail for Italy at once. [...]

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  Le nozze di Figaro

  Next dates:

  • 02.10.26 7.00 PM - Staatsoper Unter den Linden
  • 07.10.26 7.00 PM - Staatsoper Unter den Linden
  • 13.10.26 7.00 PM - Staatsoper Unter den Linden

  [...] In a villa by the sea in a summer resort, where Figaro is on holiday, emotions run high, old grudges are settled, and intrigues spun. At the end of this "great day", however, there is forgiveness. Once again, love triumphs and everyone is happy – the Count and Countess, Figaro and Susanna, Bartolo and Marcellina, and even Cherubino, who had hitherto stirred everything up. Figaro, which was already a success during Mozart’s lifetime, has become a prime example of a "musical comedy" – admired by many, and a favourite among directors, conductors, singers and audiences. Hardly any other composer has succeeded like Mozart in revealing the finest, most spiritual emotions of his characters through music, and rendering them with such immediacy and precision. (...) While the court vacations at a villa on the seashore, intrigues and counter-intrigues develop, in a veritable carnival, old debts are balanced and new alliances are forged, and events take surprising turns with chaos and anarchy as well as moments that secure order.Act one Figaro measures the room that he will share with Susanna after their marriage. When he reveals his mysterious past as a foundling, Marcellina recognizes her long lost son. It is also revealed that Bartolo is Figaro’s father, so that unexpectedly a family is reunited. Susanna, who is initially annoyed by the new harmony between Figaro, Marcellina, and Bartolo, learns of the discovery: the two couples plan to celebrate a dual marriage.The Countess and Susanna continue to play with the Count: they write him a letter to lure him into the nightly darkness of the park, where (the letter claimed) Susanna would await him. (...) It is rare to see opera singers with such vitality of movement and performance.”(Berliner Zeitung) “It is a festival of voices and the senses that Jürgen Flimm gifts to himself with this very harmless but airy midsummer night`s dreamy production.” [...]

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  Rigoletto

  Next dates:

  • 17.09.26 7.30 PM - Staatsoper Unter den Linden
  • 19.09.26 7.30 PM - Staatsoper Unter den Linden
  • 23.09.26 7.30 PM - Staatsoper Unter den Linden

  [...] He had to change the name of his melodrama from La maledizione (The curse) to Rigoletto and change its setting to the court of a fictional Duke of Mantua, but he left the plot and its blatancy untouched. In Verdi’s first mature work, the trivial, the grotesque, and high pathos are all intertwined. The contrasts between garish banda music and expressive cantilena form an uncompromising masterpiece of tremendous brevity and sharpness. (...) Monterone curses the shameful shenanigans of the duke and his court jester before he is taken away.Thinking about the curse, Rigoletto makes his way home and on the way meets the hired killer Sparafucile, whose services he declines. She knows nothing about her father’s work, not even his name, and is only allowed to leave the house to attend mass, closely guarded by the housekeeper. After a conversation with her about her being his entire family after the death of her mother, Rigoletto departs again. [...]

• Artist

  Simone Oestreicher

  [...] Seit 2017 leuchtete sie verschiedene LINDEN21-Projekte und arbeitete u.a. mit Künstler:innen wie Letitia Renzini (»Love you son of a bitch«), Swaantje Kleff (»Die Abenteuer des Pinocchio«) und Georg Schüttky (»Sehnsucht.Lohengrin«) zusammen. [...]

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  Reconstruction

  [...] He conceived the opera in the Palladian style. The King selected a fortress site near the Kronprinzenpalais where he lived. By placing it on the city’s main axis – the Unter den Linden boulevard – and not as would be usual within the palace complex, this created Europe’s first independent theatre building as a cultural expression of the Enlightenment.The building, which was conceived as a nave, comprises the Apollo Hall (banqueting hall, foyer), the Theatre Hall (auditorium, ballroom) and the Corinthian Hall (stage and concert hall). In addition, there are areas available for pre-assembling and storing stage scenery and decorations.The administration buildingHere the decorative and historically protected fittings and furnishings were freed of contaminants, carefully catalogued and put into storage. [...]

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  Reconstruction

  [...] He conceived the opera in the Palladian style. The King selected a fortress site near the Kronprinzenpalais where he lived. By placing it on the city’s main axis – the Unter den Linden boulevard – and not as would be usual within the palace complex, this created Europe’s first independent theatre building as a cultural expression of the Enlightenment.The building, which was conceived as a nave, comprises the Apollo Hall (banqueting hall, foyer), the Theatre Hall (auditorium, ballroom) and the Corinthian Hall (stage and concert hall). In addition, there are areas available for pre-assembling and storing stage scenery and decorations.The administration buildingHere the decorative and historically protected fittings and furnishings were freed of contaminants, carefully catalogued and put into storage. [...]

• Artist

  Marie McLaughlin

  [...] Ihr aktuelles Repertoire umfasst Marcellina (»Le nozze di Figaro«), die Ciesca (»Gianni Schicci«), Madam Larina (»Eugen Onegin«), die Despina (»Così fan tutti«) die Alisa (»Lucia di Lammermoor«), Mrs Grose (»Turn of the Screw«), Miss Jessel, Lilian Disney in Philip Glass’ »The perfect american« und Mother Needham in Iain Bells »The Harlot’s progress« im Theater an der Wien.In dieser Spielzeit singt sie Abigail Simpson in Julian Grants Weltpremiere von »The nefarious, immoral but highly profitable enterprise of Mr Burke & Mr Hare« an der Boston Lyric Opera sowie an der Scottish Opera als Older Woman in Jonathan Doves »flight«. [...]

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  Sonderkonzert „Musik aus fernen Rundfunktagen“

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  [...] Great symphonies and instrumental concertos usually dominate the programmes of the Staatskapelle Berlin when it performs on concert stages in Berlin and around the world. In a special concert programme, the orchestra and its general music director embark on a journey of discovery into the music of those decades when people sat eagerly in front of their radios and listened to the sounds coming from the device – sounds that were as symphonic as they were jazzy, imbued with rhythmic energy and infectious vitality, evoking images of concert halls, salons and dance floors alike. [...]

• Artist

  Ólafur Elíasson

  [...] The Icelandic-Danish artist Ólafur Elíasson (b. 1967) works in a wide range of media, including installation, painting, sculpture and photography. Museums around the world have devoted solo shows to his work, among them “Innen Stadt Außen” at Martin-Gropius-Bau in Berlin (2010); “BAROQUE BAROQUE” at the Winter Palace of Prince Eugene of Savoy in Vienna (2015); and “The unspeakable openness of things” at the Red Brick Art Museum in Beijing (2018). His Berlin studio, founded in 1995, now numbers over one hundred craftsmen, architects and technicians, among others. Ólafur Elíasson is the co-founder of the social business “Little Sun”, which produces and distributes solar lamps on and off the grid. [...]

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  FESTIVE OPENING OF THE SEASON 2019/20

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  [...] The Staatsoper Unter den Linden invites you to its new season, which starts with a large festive opening event on 31 August. The Staatskapelle Berlin and the Staatsoper Chorus, the ensemble singers and all the staff from the technical services, costume, make-up and other departments look forward to welcoming numerous inquisitive visitors. There will be special offers for children, teenagers and families, as well as comprehensive information about our premieres and the repertoire; we explicitly encourage you to take a look behind the scenes. [...]

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  Introductory lecture »Samson et Dalila«

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  [...] Argentine film director and screenwriter Damián Szifron and tenor Brandon Jovanovich, who will make his debut at the Staatsoper Unter den Linden as Samson, are speaking about the upcoming premiere of »Samson et Dalila« and giving insights into the production.  [...]

• Artist

  Finn Ross

  [...] Finn Ross studierte an der Londoner School of Speech and Drama und gilt als ein Pionier des Videodesigns für Bühnenwerke. Er konzipiert Videokunst für alle Bühnenformate, allen voran für Theater-, Opern- und Tanzproduktionen. Die Produktion ging auf eine ausgedehnte Tour und war weiterhin am Broadway zu sehen, wo Finn Ross mit »American Psycho«, »Betrayal« oder »All My Sons« regelmäßig gastierte. Weitere Werke für das Theater waren aufsehenerregende Adaptionen von »Master and Margarita«, das bei den Wiener Festwochen zu sehen war, »Die Ringe des Saturn« am Schauspielhaus Köln (beide 2012) und »Shunkin« (2013, Lincoln Center). [...]

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  Workshop 60+ - Die Gespenstersonate

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  [...] Over four afternoons, dedicated opera fans and courageous opera newcomers will take a look inside one work. Lively discussions on the piece and the staging are expressly requested!From 16:00 to 18:00 on four subsequent ThursdaysMinimum age: 60 yearsRegistration and contact:Staatsoper im Schiller TheaterJunge StaatsoperBismarckstr. 11010625 BerlinTel: +49 (0)30 20354-697Fax: +49 (0)30 20354-594operleben@staatsoper-berlin.de [...]

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  Die lustigen Weiber von Windsor

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  [...] German romanticism and Italian charm combined with Shakespearean comedy: this was Otto Nicolai’s inspiration for his »comic-fantastic« opera. Both in the libretto and score, the characters’ individual profiles stand out, while the buffoonish twists and turns of the plot tip things over the edge, including the different shades of atmosphere in scenes that feature both light and dark sides. (...) ACT ONEMrs. Fluth and Mrs. Reich are neighbors. Both receive identical letters from Sir John Falstaff declaring his love for them. Anna has been ordered by her father to marry Spärlich, her mother demands Dr. Cajus as a son-in-law. The wedding is to take place at a nightly masquerade. Anna should – depending on who is chosen – wear a green or a red elf costume to be recognized by Spärlich and Cajus. [...]

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  Christian Thielemann Season 2026/27

  [...] Since taking up his post as General Music Director of the Staatsoper Unter den Linden in autumn 2024, Christian Thielemann and the Staatskapelle Berlin have developed a mutually inspiring relationship, both in opera and in concert. At the turn of the year, Christian Thielemann and the Staatskapelle will, as usual, discover and present music beyond their traditional repertoire – this time they will devote themselves to film music from Europe and overseas in opulent symphonic garb. [...]

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  MELANCHOLY OF RESISTANCE

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  [...] Functions of daily life have become unpredictable and the future holds little hope. But the arrival of a mysterious circus with bizarre figures promises distraction. Hungarian director David Marton has developed a film opera for the premiere, in which the lines between reality and fiction blur. (...) Her plan works: Monsieur Esther joins in the action against his will and hopes in exchange to be rid of his wife once and for all. The link that binds the separated couple is Madame Pflaum’s son Valouchka. Madame Pflaum doesn’t believe the situation is as serious as it is, makes accusations against her son and is then forced to watch how he is taken off by men in heavy coats. Paying no attention to who he is, Valouchka becomes part of the movement and for the first time in his life feels a sense of belonging, despite a concern for his mother and Monsieur Esther. [...]

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  Robinson

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  [...] Based on Daniel Defoe’s classic novel from 1719, composer Oscar Strasnoy and playwright Sigrid Behrens link the story to how some people in modern society live in isolation. Their thoughts are condensed into reflections on aspects of life in seclusion – both the withdrawal into inner worlds or escape into parallel ones. The work explores how isolated people deal with time, their struggle against loneliness and emptiness, and their search for greater meaning in life. (...) Chamber opera for self-playing pianos,machines and seven islands (2023) Music by Oscar Strasnoy Text by Sigrid Behrens Comissioned by the Staatsoper Unter den Linden [...]

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  Season 2026/27

  [...] Welcome to the new season At every performance, a community forms anew that shares ideas, values, emotions, and visions. This aspect of the opera or concert, which is also political, lends our daily work special responsibility: for you as an audience, for those of us performing and participating, for our society as a whole. With touching and moving stories and sounds, important works fascinate us to this day, even if or precisely because they are several hundred years old. [...]

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  Season 2025/26

  [...] The opera repertoire stretches from the Baroque, with a renewed performance of Henry Purcell’s Dido & Aeneas, a collaboration with our trusted Berlin partners Compagnie Sasha Waltz and Guests and Akademie für Alte Musik, to opera “classics” by Mozart, Wagner, Verdi, and Puccini, and works from the twentieth century, in German, Italian, French, Russian and English. We look forward to seeing you this season, for music and the opera only take on meaning with communication and lively exchange. Welcome to the new 2025/26 season! [...]

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  Donations and Membership fees from abroad

  [...] Thanks to our cooperation with »Transnational Giving Europe« (TGE), membership fees and donations to the »Freunde und Förderer der Staatsoper« can now be donated tax-efficiently from the following European countries: Belgium, France, Great Britain, Italy, the Netherlands, Spain, Switzerland. »Transnational Giving Europe« is a Europe-wide network of prestigious philanthropic foundations and institutions which allows tax-effective cross-border giving. The process, which is approved by fiscal authorities and regularly controlled, enables donors, resident in one of the participating countries, to financially support non-profit organizations in other Member States, while benefiting directly from the tax advantages provided for in the legislation of their country of residence. [...]

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  Die Entführung aus dem Serail

  Next dates:

  • 31.01.27 6.00 PM - Staatsoper Unter den Linden
  • 02.02.27 7.00 PM - Staatsoper Unter den Linden
  • 07.02.27 7.00 PM - Staatsoper Unter den Linden

  [...] With Die Entführung aus dem Serail (The Abduction from the Seraglio), he composed an enormously significant, pioneering work for the Deutsches Nationalsingspiel that had been founded by the Habsburg emperor Joseph II in Vienna, with inspired music and impressively rendered characters. Mozart brought his wealth of experience with Italian opera to this work, always with an eye for creating a lively, exciting opera experience, combining captivating melodies and vocal brilliance with deeply felt emotions and striking profiles for the characters with their different life worlds. Please note that the performance includes flickering and bright light effects. This may cause some people to feel unwell. (...) New adaptation and presentation by Bülent Ceylan, Andrea Moses, and Michael Höppner (incorporating the original text by Johann Gottlieb Stephanie) Age recommendation: as of 12 years (...) When the men plead for forgiveness, the women pardon them and the four sing in praise of love. Act Three In the night, Belmonte and Pedrillo try to abscond with the women, but Osmin wakes up earlier than planned and thwarts their attempt. Selim confronts the captured prisoners. It turns out that Belmonte is the son of Selim’s archenemy, whose intrigues once ruined him and forced him to leave Spain. Konstanze and Belmonte are ready to die together. (...) "The comedian embodies the director Andrea Moses’s bizarre strategy quite perfectly and with all his charm: ‘We’re combining opera and comedy.’"(Süddeutsche Zeitung) “...this portrayal of Mozart is dazzling, lively, majestic, and yet as supple as a blade of grass in the wind.”(Tagesspiegel) [...]

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  Macbeth

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  [...] But racked by guilt, the Macbeths soon sink into delusions and become victims of their own thirst for power. In order to stay as faithful as possible to the admired Shakespearean play, Giuseppe Verdi’s »Macbeth« shattered the operatic conventions of the time and created one of his darkest and most starkly disturbing works. Monumental choral scenes, echoing the rebellion and disillusionment of the dominated, oppressed and persecuted, demonstrate the social consequences of tyranny and despotism. (...) Melodramma in four acts (1847/1865) Music by Giuseppe Verdi Text by Francesco Maria Piave and Andrea Maffei after William Shakespeare (...) Encouraged by Lady Macbeth, he decides to kill Banquo and his son as well. Hired killers slay Banquo, while his son is able to flee.A celebration is held to honor the new King Macbeth.Queen Macbeth amuses the guests with a drinking song, while Macbeth is told that Banquo’s death has been achieved. Banquo’s son and Macduff should both be killed, along with his family. ACT FOURThose fleeing Macbeth’s regime of terror mourn the repression of their people. [...]

• Artist

  Karine Babajanyan

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  Carmen

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  [...] An opéra comique with a tragic ending that depicts the eternal game of passion and torturous jealousy, and whose fiery music continues to appeal to audiences worldwide – that is Bizet’s Carmen. Today Carmen is one of the most frequently performed pieces in the repertoire, and there is no foreseeable end to its enthusiastic reception. It features a number of songs that have become true hits, while its southern flair and vivid orchestral sounds create a sensual mood, only adding to its charm. (...) OPÉRA COMIQUE IN FOUR ACTS (1875) Music by Georges Bizet Text by Henri Meilhac and Ludovic Halévybased on the eponymous novella by Prosper Mérimée (...) Micaëla finds Don José and gives him a letter from his mother, who writes that she hopes he will marry Micaëla.Shouts from the factory tear Don José away from his thoughts: Carmen has just wounded another factory girl with a knife in a fight. Don José challenges Escamillo to a fight, which is interrupted only by the return of the women and the smugglers. Remendado discovers Micaëla hiding. She tells Don José that his mother is dying, and Don José decides to leave with her.Act four The square in front of the bullring: Carmen and Escamillo are now together. [...]

• Artist

  Lore Binon

  [...] Pamina in Mozarts »Zauberflöte« an der Vlaamse Opera. 2019 war sie in »Love, you son of a bitch« an der Staatsoper Unter den Linden zu hören. Ferner sang sie im Bereich der zeitgenössischen Musik u. a. [...]

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  Daphne

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  [...] Daphne lives in a world that is foreign to her. She is the embodiment of nature and finds human behaviour and desire alien. Apollo and Leucippus, both of whom desire Daphne, attend the feast of Dionysus. Too late, Apollo, under Leucippus’ spell, realises he has acted against his divine destiny and Daphne’s nature. »Daphne« is one of Richard Strauss’ last operas. The story is based on a tale from ancient mythology and was passed down by Ovid and Plutarch, among others. (...) She is also disinclined to attend the upcoming fertility rite despite the encouragement of her mother Gaea. She refuses to wear the gowns prepared for her especially and flees from the situation. Her maids encourage Leukippos to don the dresses instead and pretend to be a maidservant in order to be close to Daphne at the feast.Apollo joins in the festivities in the form of a cow herd. She too is fascinated by the mysterious stranger and allows him to kiss her, but then flees from the god as he gets pushy. The festivities commence and the procession of masked shepherds appears, led by Daphne’s parents Peneios and Gaea. [...]

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  Hippolyte et Aricie

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  [...] Encounters between immortals and mortals – gods and humans – are often tense and unpredictable. The two couples in Rameau’s Tragédie lyrique – Hippolyte and Aricie, Thésée and Phèdre – experience the power of the gods at first hand through the intervention of Diana, Jupiter, Pluto and Neptune. Idyll, mystery and terror reign in equal measure, be it in the forest, by the sea or in the underworld. Rameau’s music is nuanced and full of contrasts, with a multitude of sounds, forms and expressive moments. (...) Prior StoryTheseus has defeated the Pallantides and gained control over Athens. The numerous sons of Pallas have been destroyed, with only their sister Aricia being spared. Phaedra tells Hippolytus that she has no feelings of hatred for him, and on hearing this Hippolytus warmly gives his support to Phaedra. He refuses the throne and offers to act as father to the joint son of Phaedra and Theseus, who should instead become the new ruler. [...]

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  Les pêcheurs de perles

  Next dates:

  • 02.04.27 7.30 PM - Staatsoper Unter den Linden
  • 04.04.27 6.00 PM - Staatsoper Unter den Linden
  • 07.04.27 7.30 PM - Staatsoper Unter den Linden

  [...] The two men swore to renounce their love for the beautiful young woman, but neither this promise nor Leïla’s vow of chastity prevents her and Nadir from being overcome by longing when their paths cross again. They are caught by the high priest, and as the leader of the pearl fishers’ village it falls to Zurga to pass sentence. Both dramatically and musically, the pivotal point of the opera is the famous duet "Au fond du temple saint" between Zurga and Nadir, an operatic masterpiece that is the main factor responsible for the rediscovery of this rarely performed opera.​ (...) Act one A beach along an isle inmidth the sea: as always, pearl diving season begins at this time of year, and the fishermen have gathered around their leader Zurga. With their singing, they ask the gods for protection from dangers and from the cruel whims of nature. While leaving, she hands over her pearl necklace and asks him to bring it to her mother. Zurga recognizes in this chain the sign of gratitude that he had once given a girl who had saved him from great danger. [...]

• Artist

  Marie-Eve Signeyrole

  [...] Marie-Eve Signeyrole ist Autorin und Regisseurin, studierte Moderne Literatur an der Sorbonne Université sowie Filmwissenschaft am Institut international de l’image et du son. Sie inszenierte u. a. Roméo et Juliette und Belshazzar (MusikTheater an der Wien), die Uraufführungen von Bernard Foccroulles Cassandra (La Monnaie, nominiert in der Kategorie Best Director bei den International Opera Awards 2024) und Keyvan Chemiranis Negar (Deutsche Oper Berlin), Turandot (Semperoper Dresden), L’infedeltà delusa (Bayerische Staatsoper), Rigoletto (Opéra National de Montpellier), Norma, Samson et Dalila und Don Giovanni (Opéra national du Rhin), Berlioz’ La damnation de Faust (Staatstheater Hannover, nominiert für den Deutschen Faustpreis 2019), Nabucco (Opéra de Lille), Ronja Räubertochter (Opernhaus Zürich) und Carmen (Latvian National Opera in Riga). [...]

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  Guided Tour

  Next dates:

  • 13.09.26 1.00 PM - Staatsoper Unter den Linden
  • 13.09.26 3.00 PM - Staatsoper Unter den Linden
  • 19.09.26 2.00 PM - Staatsoper Unter den Linden

  [...] Discover the Staatsoper Unter den Linden and learn more about the fascinating history of the 275years old house and its architecture! (...) through the opera house and stage area (...) In German language English audio-guide available – own smartphone and headphones required. [...]

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  Christian Thielemann Season 2025/26

  [...] In addition to three symphony concerts with the Staatskapelle Berlin, Christian Thielemann will also conduct the New Year's concert, the special concert ‘Music from Distant Radio Days’ and, for the third time in a row, the open-air concert at ‘Staatsoper für alle’ on 24 May 2026 at Bebelplatz. Mai 2026 Dates & TicketsKonzert zum Jahreswechsel With: Christian Thielemann and the Staatskapelle Berlin 31 December 2025 & 1 January 2026 Dates & TicketsSpecial concert „Musik aus fernen Rundfunktagen“ With: Christian Thielemann and the Staatskapelle Berlin 14 & 15 February 2026 Dates & Tickets [Terminfilter 125] [...]

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  Jenůfa

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  [...] The rigid morals of a village community put a young woman under pressure: Jenůfa is pregnant by her lover Števa, but he rejects her and retracts his offer of marriage. Once the child is born, Jenůfa’s stepmother, the village sextoness, is worried about the young woman’s reputation as well as her own future. When Laca, another marriage suitor, offers Jenůfa his hand in marriage, the sextoness thinks that life would be better for all of them without the child … Leoš Janáček’s third opera, with its echoes of folk music from the composer’s native Moravia, was his first real success and was given the sobriquet of "Moravia’s national opera". Besides this, Janáček’s music has a special quality: while it explores psychological extremes leading to violence and infanticide, and lays bare characters’ emotions in an unsparing manner, no one is judged. (...) Pondering her situation, she comes to the conclusion that the child stands in the way of Jenůfa’s future. She packs it away and disappears in the cold winter night. Jenůfa awakes and looks for her little Števa. When the Kostelnička returns, she convinces Jenůfa that she has been asleep for several days with fever and that her son died in the meantime. Jenůfa recognizes her son from the clothing. The enraged crowd accuses Jenůfa of having killed her own child. The Kostelnička intervenes and admits her crime to the horror of all those present. [...]

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  Pelléas et Mélisande

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  [...] He transposed the Wagnerian leitmotif technique into a subtle tone painting and described atmospheres and dispositions of the soul that elude description and that even music is often only able to gesture towards. The opera is based on a drama of the same name by the Flemish symbolist Maurice Maeterlinck that tells the tragic, fairytale-like story of a love triangle between the stepbrothers Golaud and Pelléas and the mysterious Mélisande. The plot is sketched in vague terms, with the main emphasis on exploring the depths of the characters’ psyches. (...) In the letter, Golaud tells of his marriage to Mélisande, and asks Pelléas to ask Arkel whether he is prepared to honour this stranger as his own daughter. A particular fire signal is to indicate Arkel’s willingness to accept Mélisande, who complains to Geneviève about the gloominess of the park and the castle. Golaud notices that the ring is missing from Mélisande’s finger, and sends her into the dark night to look for the ring. Pelléas is to accompany her. In a cave, Pelléas and Mélisande discover three sleeping old troglodytes. [...]

• Artist

  Andrew Dickinson

• Artist

  Anderson Nunnelley

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  Tosca

  Next dates:

  • 25.10.26 6.00 PM - Staatsoper Unter den Linden
  • 28.10.26 7.30 PM - Staatsoper Unter den Linden
  • 31.10.26 6.00 PM - Staatsoper Unter den Linden

  [...] When the revolutionary and painter Mario Cavaradossi secretly attempts to help a political fugitive to escape the city of Rome, his lover, the famed singer Floria Tosca, believes he is cheating on her with another woman. Scarpia then makes Tosca an offer: if she gives herself to him for one night, he will release her lover. With compelling dramaturgy and pronounced realism, Puccini created one of his tersest and most dramatic works – a milestone in the history of opera. (...) Melodramma in three acts (1900) Music by Giacomo Puccini Text by Giuseppe Giacosa and Luigi Illica after Victorien Sardou (...) Finally Tosca demands free passage for the artist and for herself. After Scarpia signs the document, Tosca picks up a knife and stabs Scarpia to death. In despair, he tries to write a letter of farewell to Tosca. She appears and tells him of the murder of Scarpia and that he, Cavaradossi, will be free and will only be shot for the sake of appearances with unloaded weapons. (...) “Rarely has it [the music] been so compellingly wild, so phonetically powerful and at the same time transparent to experience as this time.”(Frankfurter Allgemeine Zeitung) [...]

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  Giselle

  Next dates:

  • 12.09.26 7.30 PM - Staatsoper Unter den Linden
  • 18.09.26 7.30 PM - Staatsoper Unter den Linden
  • 20.09.26 3.00 PM - Staatsoper Unter den Linden

  [...] Love, betrayal and the longing for forgiveness shape one of the most moving works of Romantic ballet. Giselle, originally titled Giselle, ou les Wilis, premiered at the Paris Opera on June 28, 1841 and stands as a pinnacle of the era in which dance became the embodiment of the supernatural. Suitable for ages 7 and above [...]

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  Fidelio

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  [...] Missing for two years, he has been unjustly incarcerated by Governor Pizarro in the deepest dungeon. Leonore exceeds her own expectations and carries out a courageous rescue. I will achieve it with love, she sings until she is at last reunited with Florestan in boundless joy. Beethoven’s Fidelio went on to become one of the central operatic works of the Classical period in the German-speaking world and beyond, with its rounded characters and impressive, memorable moments. These include the great arias of Leonore and Florestan, the trumpet fanfare announcing Florestan’s rescue, the mood of the prison chorus that wavers between hope and fear, and the grandiose and joyful finale O what a moment! (...) Opera in two acts (1814) Music by Ludwig van Beethoven Text by Joseph von Sonnleithner and Friedrich Treitschke (...) Leonore, Florestan’s wife, has not given up the search for her lost husband. She fervently hopes to find him and liberate him. Dressed as a man, she has entered the service of the prison guard Rocco and taken on the name Fidelio. A trumpet signal announces the arrival of the minister. Pizarro is taken away, and Leonore and Florestan are happily united. In the presence of the prisoner and the people, minister Don Fernando announces his plan to investigate injustice and tyranny.Among the prisoners brought before him, he recognizes his friend Florestan, who he thought was dead. [...]

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  L’Orfeo

  Next dates:

  No upcoming dates.

  [...] Claudio Monteverdi’s »Orfeo« is considered to be the first opera and a masterpiece of European musical history. Certainly, this setting to music of the myth of Orpheus and Eurydice is the earliest surviving »Favola in musica«, which at its première in 1607 apprehended for the first time instrumental music, song, dance and theatre as a unit. She enhanced the media of musical theatre through the theatricality of dance and created a new genre for the opera, a fusion of dance, song and music: the choreographic opera. This new genre continued its development as Sasha Waltz worked on the compositions »Medea« (Dusapin, 2007), »Roméo & Juliette« (Berlioz, 2007), »Passion« (Dusapin, 2010) and »Matsukaze« (Hosokawa, 2011). (...) PROLOGUEMusic descends from Parnassus and tells of Orpheus, who tamed wild animals and overcame the Underworld.ACT ONEShepherds and nymphs invoke Hymen, the God of Marriage, and rejoice with Orpheus about the day when Euridice returned his love. Orpheus laments no more but declares himself ready to become a worthy son of Apollo.The opera closes with a boisterous song from the nymphs and shepherds. They praise Orpheus, who has achieved heavenly honour and complete happiness. [...]

• Event

  Symphoniekonzert II

  Next dates:

  • 20.10.26 7.00 PM - Staatsoper Unter den Linden
  • 21.10.26 8.00 PM - Philharmonie Berlin - Großer Saal

  [...] From his early youth, Richard Strauss engaged with the art song, initially in the combination of voice and piano, and from the 1890s onward also in the form of songs with orchestral accompaniment. Among his final compositions are the Vier letzten Lieder, completed in 1948, which revolve around the great themes of life and death, featuring a sensitively balanced relationship between text and music and a powerful impact; they are deeply personal and moving. With the Alpensymphonie, premiered in 1915, Strauss concluded his series of tone poems, through which he elevated both the art of program music and that of orchestration to a new level. The experience is a musical journey through the high mountains, from early morning into the night, featuring sunrise and the exhilaration of reaching the summit, but also perilous moments and a powerfully erupting thunderstorm. [...]

• Event

  Daniel Barenboim and Musicians of the Staatskapelle Berlin

  Next dates:

  No upcoming dates.

  [...] TSCHAIKOWSKY»Blumenwalzer« from »Der Nussknacker« op. 71SkandinavienEDVARD GRIEG»Anitras Tanz« and »In der Halle des Bergkönigs« from the Suite to »Peer Gynt«ItalienGIUSEPPE VERDIOuverture to »La forza del destino«EnglandEDWARD ELGARMarch No. 1 from »Pomp and Circumstances«FrankreichMAURICE RAVEL»Bolero«Tickets here availableMore informationen [...]

• Event

  L’incoronazione di Poppea

  Next dates:

  • 20.11.26 7.00 PM - Staatsoper Unter den Linden
  • 22.11.26 6.00 PM - Staatsoper Unter den Linden
  • 24.11.26 7.00 PM - Staatsoper Unter den Linden

  [...] In his last opera, Claudio Monteverdi drew for the first time on material with real historical figures, and thus created the first "sex-and-crime story" in operatic history. Like a political thriller, this early Baroque masterpiece tells a story of power and passion and of occasions where it is abused. When the imperial philosopher Seneca opposes this plan, he has to pay for it with his life. Meanwhile, Ottavia in turn incites the spurned and deceived Ottone to kill her power-hungry rival Poppea. However, the murder is thwarted in time: Ottavia is shunned and Poppea fulfils her plans, wishes and dreams.At the end of their opera, Monteverdi and his librettist Busenello demonstrate their bitter view of the world: all their characters have flaws, and ultimately, those allowed to triumph are those who act most unscrupulously. (...) Opera musicale in a prologue and three acts (1642) Music by Claudio Monteverdi Text by Giovanni Francesco Busenello (...) Her old nurse suggests that the Empress should take on a lover as consolation.The philosopher and Emperor’s tutor Seneca advises the Empress to bear the abjection valiantly. Her servant loses his self-control and mocks Seneca. Poppea and Nero celebrate their lust for one another. [...]

• Event

  2 Chapters Love

  Next dates:

  • 11.12.26 7.30 PM - Staatsoper Unter den Linden
  • 13.12.26 6.00 PM - Staatsoper Unter den Linden
  • 18.12.26 7.30 PM - Staatsoper Unter den Linden

  [...] Jiří Kylián has left a lasting mark on 20th-century ballet. In Gods and Dogs, Kylián bridges the divine and the instinctual, order and madness, in a radically concentrated manner. Suitable for ages 10 and above (...) Gods and Dogs / 2 Chapters Love [...]

• Event

  Médée

  Next dates:

  No upcoming dates.

  [...] Much can be learned about the art of composition, the interaction of text and music, and the visualisation of a multifaceted tragic event, whose magnitude and power touches the audience. Charpentier’s opera is unique in its combination of French classicism and Italian melodic beauty, and exceptional in its richness of expression and timbre. Every character is sharply drawn, as is the drama itself, staged by Peter Sellars. (...) she asks herself, ‘why am I trembling? How can I remember that I am a mother and a woman?’ She looks at her children through lost eyes. ‘No, I must be inflexible. I must hurt Jason. For a moment, Medea again loses her bearings and feels her exhaustion and fragility. Like the tired mother she is, she needs to lie down and rest. [...]

• Event

  La Calisto

  Next dates:

  • 08.11.26 6.00 PM - Staatsoper Unter den Linden
  • 13.11.26 7.00 PM - Staatsoper Unter den Linden
  • 15.11.26 6.00 PM - Staatsoper Unter den Linden

  [...] This opera is a masterpiece of the Venetian Baroque by one of its most prominent composers. Written and brought to the stage for the first time almost precisely in the middle of the seventeenth century, Francesco Cavalli’s La Calisto is characterized by its musical inventiveness, an extraordinarily focused rendering of the characters, and a sophisticated libretto filled with serious and comic situations as well as characters. The plot lines are multilayered, downright labyrinthine, and the scene changes and turns of events are surprising. The most powerful of all passions, love, is the driving force to which all the characters are subject in all their trials and tribulations: be they gods, natural beings, or humans. (...) Dramma per musica in three acts and a prologue (1651) Music by Francesco Cavalli Text by Giovanni Faustini [...]

• Event

  Kammerkonzert I

  Next dates:

  • 28.09.26 8.00 PM - Apollosaal

  [...] This season, the ensembles are dedicating themselves to the grand theme of “freedom”, inspired by and linked to the upcoming Beethoven anniversary in 2027. The idea of personal and artistic freedom, which continues to unleash new energy and vitality, as embodied so impressively by Ludwig van Beethoven in his life and work, is the starting point for a programmatic diversity that encompasses a wide variety of themes, instrumentations and styles. [...]

• Artist

  Tómas Tómasson

  Next dates:

  • Die Zarenbraut - 12.06.27 6.00 PM - Staatsoper Unter den Linden
  • Staatsoper für alle - Live broadcast: Die Zarenbraut - 12.06.27 6.00 PM - Bebelplatz
  • Die Zarenbraut - 15.06.27 7.00 PM - Staatsoper Unter den Linden

  [...] Er gastierte an zahlreichen internationalen Opernhäusern, so am Londoner Royal Ballet and Opera, an der Lyric Opera of Chicago, der Washington National Opera, der Wiener Staatsoper, der Semperoper Dresden, der Bayerischen Staatsoper in München, dem Grand Théâtre de Genève, in Paris, Rom, Zürich, Lyon, Antwerpen, Kopenhagen, Dublin, Beijing und Tokio. [...]

• Event

  Lohengrin

  Next dates:

  No upcoming dates.

  [...] Trapped in a reality that no one seems to share with her, a man enters her life promising to fight for her cause – on one condition: Elsa must trust him blindly and never ask him his name or birthplace. But an intrigue entices Elsa to break her promises. The man’s answer reveals his divine origin and brings back Elsa’s brother; but she pays a high price.  The Spanish opera and theatre director Calixto Bieito leads the audience through his artworks by a "spirit of presence" and introduces himself for the first time at the Staatsoper Unter den Linden with this great romantic opera. (...) Romantic opera in three acts (1850) Music and libretto by Richard Wagner (...) Age recommendation: as of 15 years In some seats in categories I and II, there may be light glare during the performance, which is part of the artistic concept. We ask you to take this into account when choosing your seat. (...) Instead, she tells of how a noble, God-sent knight appeared to her in a dream, and how she wants to entrust him with her defense and her life. The king calls for a trial by ordeal, where the guilt of the accused would be decided in a life or death duel. Now her husband is even ready to contribute to her plotting against Elsa and the stranger.Elsa is happy about her love. Ortrud seizes the opportunity and is able to awaken Elsa’s sense of pity with feigned cries for help and demonstrations of humility. [...]

• Event

  Ballet Talk

  Next dates:

  • 04.10.26 11.00 AM - Apollosaal
  • 01.11.26 11.00 AM - Apollosaal
  • 21.02.27 11.00 AM - Apollosaal

  [...] Moderated by staff members of the Staatsballett Berlin, ensemble members, choreographers, costume designers and other participants talk about their work and the secrets behind their art. With plenty of time for deep and personal insights into the lives and daily routines of the artists, entertaining and very special encounters behind the scenes are guaranteed. [...]

• Artist

  Caroline de Vivaise

  [...] Sie entwarf die Kostüme für mehr als 50 Filme, darunter einige von Patrice Chéreau: L’homme Blessé (1982), Hôtel de France (1987), Intimacy (2000), Son Frère (2002) und Gabrielle (2005). Weitere Arbeiten aus dem Bereich Film sind Le Lieu du crime (1986) von André Techiné, Uranus (1990) und Germinal (1992) von Claude Berri, La véritable histoire d’Artaud le momo (1993) von Gérard Mordillat, Un héros très discret (1995) von Jaques Audiard, Septième ciel (1997) von Benoît Jaquot, Le temps retrouvé (1998) von Raoul Ruit, La Fidélité (1999) von Andrezej Zulawski, Cat’s Meow von Peter Bogdanovich, L’enfer von Danis Tanovic sowie gemeinsame Arbeiten mit Valeria Bruni Tedesci. [...]

• Event

  La Bohème

  Next dates:

  • 04.12.26 7.30 PM - Staatsoper Unter den Linden
  • 06.12.26 6.00 PM - Staatsoper Unter den Linden
  • 10.12.26 7.30 PM - Staatsoper Unter den Linden

  [...] Depending on the demand for their work, the penniless poet Rodolfo and his three witty artist friends live either in destitution or in the lap of luxury, squandering their money. But in the face of Mimì’s illness, the struggling artists are caught up in harsh reality. In a loose sequence of scenes, Puccini and his librettists not only tell a love story with a tragic ending, but also portray the subculture of bohemians in 19th-century Paris: their desire for freedom, both socially and artistically, their self-image as bogeymen of the bourgeoisie, and their everyday life that vacillates between excess and survival – a lifestyle that Puccini himself cultivated during his studies. (...) Opera in four tableaus (1896) Music by Giacomo Puccini Text by Giuseppe Giacosa and Luigi Illica after Henri Murger (...) Act one Christmas Eve in a garret in Paris Rodolfo, a poet, and Marcello, a painter, are finding it difficult to work. It is cold in their garret. Rodolfo generously sacrifices his latest play to make a short-lived fire in the stove. Left alone, Rodolfo and Mimì reminisce about their first meeting. The friends return, and Mimì dies. Rodolfo is the last to realize it. [...]

• Artist

  Thomas Hampson

  [...] Außerdem engagiert er sich in den Bereichen Forschung, Ausbildung, Musikvermittlung und Musiktechnologie.Er erhielt eine Ehrung als Metropolitan Opera Guild »Met Mastersinger« und ist Mitglied sowohl in der American Academy of Arts and Sciences als auch in Gramophones 2013 »Hall of Fame«. Hampson gehört zu den anerkanntesten und innovativsten Musikern unserer Zeit. Außerdem sang er die Titelrolle in Giuseppe Verdis »Simon Boccanegra« an der Wiener Staatsoper, den Amfortas in Richard Wagners »Parsifal« and der Lyric Opera of Chicago, die Rolle des Giorgio Germont in Verdis »La traviata«an der Bayerischen Staatsoper München und schließlich Mandryka in der Oper »Arabella« bei den Osterfestspielen Salzburg. [...]

• Event

  Eröffnungskonzert Barocktage 2026

  Next dates:

  • 07.11.26 8.00 PM - Staatsoper Unter den Linden

  [...] With Claudio Monteverdi's moving scenes from L'Orfeo and the highly dramatic Il combattimento di Tancredi e Clorinda, this programme tells of passionate love, tragic error and irrevocable loss. Heroes fight, lovers fail – and only at the moment of death is the truth recognised. Complemented by music by Luigi Rossi, Antonio Sartorio, Lorenzo Allegri and Maurizio Cazzati, a musical drama of harrowing intensity unfolds – passionate, expressive and of timeless emotional power. [...]

• Artist

  Magnús Hallur Jónsson

  [...] Als Solist trat er als Casanova in der gleichnamigen Oper von Albert Lortzing, als Tenor in Boris Blachers »Abstrakter Oper Nr. 1«, als Frosch und Arzt in Ottorino Res­pighis »Dornröschen«, als Beppe in Donizettis »Rita«, als Sailor in Purcells »Dido and Aeneas«, als Gaston in »La traviata«, als Spoletta in »Tosca«, als Geharnischter und Priester in »Die Zauberflöte« sowie als Ké-Ki-Ka-Ko in Offenbachs »Ba-ta-clan« auf.In der Werkstatt der Staatsoper im Schiller Theater Berlin war er regelmäßiger Gast, so in den Produktionen »Der Jasager/Der Neinsager« von Kurt Weill und Reiner Bredemeyer sowie in Schostakowitschs »Moskau Tscherjomuschki«. [...]

• Artist

  Joshua Higgason

  [...] Andere neuere Produktionen umfassen Nico Muhlys »Control (Five Landscapes for Orchestra)« (Video und Bühnenbild); »Persona« (Video und Licht; Los Angeles Opera); »Acquanetta« (Video; New York City); »Powder Her Face« (New York City Opera) und Sufjan Stevens »Carrie and Lowell Tour 2015« (Video).Über die Jahre arbeitete Joshua Higgason mit und für Sufjan Stevens, Jay Scheib, The Builders Association, Big Dance Theater, John Tiffany, Geoff Sobelle, Radiolab, Ira Glass, Bang on a Can, Al Pacino, Theatre for One/Christine Jones, The Windmill Factory, MOMA, Carrie Mae Weems, Jim Findlay, Tony Dove, TED, Dr. [...]

• Event

  La traviata

  Next dates:

  • 07.01.27 7.30 PM - Staatsoper Unter den Linden
  • 09.01.27 7.30 PM - Staatsoper Unter den Linden
  • 16.01.27 7.30 PM - Staatsoper Unter den Linden

  [...] Violetta Valéry is a noble courtesan in Paris who has "strayed from the path of virtue" and leads a life that oscillates between splendour and misery. For her everything is a game – even love – until Alfredo Germont awakens true feelings in her. As a novel and a play, Dumas based his story on true events. Verdi composed a score of great intensity that conveys a wide range of emotions: joy and exuberance, sorrow and despair. (...) Gastone, Vicomte de Letorières, introduces to her a new guest, Alfredo Germont, who has been her admirer for a year and offers her his love and a restful life. Violetta is forced to decide, between Baron Douphol, who has been paying her for a year, or Alfredo, whom she loves like no other before. It is rumored that she and Alfredo are no longer a couple. The party begins with the appearance of “the gypsy women”, who read the palms of Flora Bervoix and her lover, Marquis d’Obigny, revealing his constant infidelity. (...) Dieter Dorn has succeeded in doing this - with the aforementioned artistically incomparable and energetic Geronto troupe, ravishing young singers and a cool set designer who centres the action on a 17th century still life.” "[...] in the blink of an eye, as Verdi's economically short scene changes demand, the entire Staatsopernchor can appear and disappear again. This is a fine society: quirky and colourful, with carnivalesque costumes by Moidele Bickel and superbly rehearsed by Martin Wright." [...]

• Event

  Sonderkonzert - Staatskapelle Berlin, Daniel Barenboim & András Schiff

  Next dates:

  No upcoming dates.

• Event

  L’elisir d’amore

  Next dates:

  • 27.09.26 6.00 PM - Staatsoper Unter den Linden
  • 29.09.26 7.00 PM - Staatsoper Unter den Linden
  • 01.10.26 7.00 PM - Staatsoper Unter den Linden

  [...] It takes a second bottle of "love potion" and plenty of fortune for Nemorino and Adina to come together. In the end, however, the whole village community is convinced of the elixir’s effect. With the delightful naivety of his characters, Donizetti and his librettist Felice Romani take superstition and credulity for a ride in a lovingly tender manner. (...) Act one The young and naive peasant Nemorino loves Adina, though she has nothing but scorn for him. Adina reads the tale of Tristan and Isolde to the villagers. Dulcamara tells her about the love potion and suggests she buy a bottle herself. Adina feels she can trust to her own charms and has no need of magic potions. [...]

• Artist

  Iain Paterson

  [...] Er studierte an der Royal Scottish Academy of Music and Drama bei Neilson Taylor. [...]

• Event

  Le nozze di Figaro

  Next dates:

  No upcoming dates.

  [...] Together with his librettist Lorenzo Da Ponte, the 30-year-old Wolfgang Amadeus Mozart succeeded in creating an opera that set new standards – with its vitality, its plot reversals at lightning speed, its multiple trials and tribulations and a score that conveys both profound sensitivity and an animated spirit. With Mozart's three Da Ponte operas, director Vincent Huguet and conductor Daniel Barenboim embark on a journey through time as the characters evolve and transform. The loves and sufferings of young people, in the form of both real and feigned emotions, come to the stage – whereby in the case of »Figaro«, which forms the second part of this trilogy, these living environments are set in the '80s with their special style and charm. (...) Figaro calms the situation and asks the Count once again for permission to marry. The gardener Antonio appears and reports that someone has jumped out of the window. When he reveals his mysterious past as a foundling, Marcellina recognizes her long lost son. It is also revealed that Bartolo is Figaro’s father, so that unexpectedly a family is reunited. Susanna, who is initially annoyed by the new harmony between Figaro, Marcellina, and Bartolo, learns of the discovery: the two couples plan to celebrate a dual marriage.The Countess mourns the happy times of her marriage, but hopes that she regains the love of the Count.In spite of this the Countess and Susanna continue to play with the Count: together they write him a letter to lure him into the nightly darkness of the park, where (the letter claimed) Susanna would await him. [...]

• Event

  Die Verlobung im Kloster

  Next dates:

  No upcoming dates.

  [...] The world of opera offers many things: beautiful melodies that transform into arias, complex ensemble movements in which the characters articulate their thoughts and feelings individually and about each other, large festive choruses, and instrumental music that form preludes and intermezzos. Several couples who, after many confusions and entanglements, finally find each other, and deceptive manipulators, who get caught in their own nooses, offer much comedic potential which Prokofiev fully exploits – in the form of an opera full of lyricism and theatricality. (...) Обручение в монастыре Lyrical comic opera in four acts (1946) Music by Sergei Prokofiev Text by Sergei Prokofiev and Mira Mendelsonbased on the comedy »The Duenna« by Richard Brinsley Sheridan (...) Meanwhile, Mendoza is no less eloquent about the merits of the various fish presented by his servants.Don Jerome’s son, Ferdinand, dreams of the beautiful and wayward Clara d’Almanza, and is already jealous of every man he encounters.At dusk, Antonio finds himself outside Don Jerome’s house. His wife jumps up to embrace “daddy” and, to his horror, Don Jerome recognizes Duenna. Luisa and Antonio appear and present the marriage permission signed by Don Jerome. [...]

• Event

  Babylon

  Next dates:

  No upcoming dates.

  [...] It is not only the Babylonians who move between chaos and order, but also the Jewish exile Tammu, who forsakes his erstwhile love, the Soul, to turn instead to the Babylonian priestess of war and free love, Inanna. Finally, a new covenant is made between the gods and the people, and order is – at least temporarily – restored.Widmann’s musical score is a lush tonal kaleidoscope of the heterogeneous society of Babylon, a fascinating collage in which a broad variety of timbres, tonal scenes, and sound structures collide. (...) Inanna succeeds in dispelling Tammu’s doubts in her faithfulness and gives him a drug that allows him to learn the “truth” of Babylon and love in his dreams. SECOND TABLEAU: THE GREAT FLOOD AND THE TERROR OF THE PLANETSIn a dream, Tammu experiences the horrors of the Babylonian flood. He continues the story of the Flood and the Ark of Noah, but with a decisive change: instead of his own son, Noah sacrifices animals to thank God for his survival. [...]

• Page

  2022/23

  [...] Our long-time chairman Ulrich Maas has resigned from his position to have more time for family and private matters. We thank him sincerely for 16 successful years and are pleased that he will remain connected to the association as a member of the board of trustees. In the ballet hall, the singer, who comes from a musical family, told us about her beginnings in Latvia, her experience with her mother as a singing teacher, her German debut at the Staatstheater Meiningen, and we spoke about the development of her fabulous career as one of the most sought-after and charismatic artists of our time. [...]

• Event

  Liedrecital Sonya Yoncheva

  Next dates:

  No upcoming dates.

  [...] Music by Henri Duparc, Pauline Viardot-García, Ernest Chausson, Gaetano Donizetti, Léo Delibes, Giacomo Puccini, Giuseppe Martucci, Paolo Tosti and Giuseppe Verdi [...]