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| Date | Event | Composer/Work |
|---|---|---|
| Thursday 18-Mar-10 19:00 |
 National Theatre, MunichIl Barbiere di Siviglia |
Bavarian State Opera Christopher Ward, Conductor Alek Shrader, Tenor: Count Almaviva Renato Girolami, Bass: Dr. Bartolo Vesselina Kasarova, Mezzo-soprano: Rosina Nikolaj Borchev, Baritone: Figaro Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Thursday 18-Mar-10 19:00 Bavarian State Opera Love, mischief and lies: those were the ingredients Rossini combined in his masterpiece! The story of the most famous hairdresser of all times: Figaro – a sharp-edged razor wielder who can get anyone in a lather … You simply have to witness the incredible rapidity of this music, the brilliant solo numbers and the infectious ensembles. The opera with the most hit tunes! In Italian with German surtitles Christopher Ward, Conductor Alek Shrader, Tenor: Count Almaviva Renato Girolami, Bass: Dr. Bartolo Vesselina Kasarova, Mezzo-soprano: Rosina Nikolaj Borchev, Baritone: Figaro Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Friday 19-Mar-10 19:00 |
National Theatre, Munich Le Nozze di Figaro Munich Opera Festival |
Bavarian State Opera Juraj Valcuha, Conductor Michael Volle, Baritone: Count Almaviva Barbara Frittoli, Soprano: Rosina (Countess Almaviva) Kate Lindsey, Soprano: Cherubino Erwin Schrott, Baritone: Figaro Laura Tatulescu, Soprano: Susanna Ulrich Ress, Bass: Doctor Bartolo Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Friday 19-Mar-10 19:00 Bavarian State Opera When the servants marry, the Count wants to have a little (more) fun in the bargain. He craves the first night with Susanna, the chambermaid. Figaro is not amused. The countess and Susanna make common cause. Disguises double and then some -- and even more complications. Everybody wants everyone else - which does not always pan out. Nobody could lust after anyone to more glorious music. Summary: men are different - and so are women! In Italian with German surtitles Juraj Valcuha, Conductor Michael Volle, Baritone: Count Almaviva Barbara Frittoli, Soprano: Rosina (Countess Almaviva) Kate Lindsey, Soprano: Cherubino Erwin Schrott, Baritone: Figaro Laura Tatulescu, Soprano: Susanna Ulrich Ress, Bass: Doctor Bartolo Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Sunday 21-Mar-10 17:00 |
National Theatre, Munich Il Barbiere di Siviglia |
Bavarian State Opera Christopher Ward, Conductor Alek Shrader, Tenor: Count Almaviva Renato Girolami, Bass: Dr. Bartolo Vesselina Kasarova, Mezzo-soprano: Rosina Nikolaj Borchev, Baritone: Figaro Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Sunday 21-Mar-10 17:00 Bavarian State Opera Love, mischief and lies: those were the ingredients Rossini combined in his masterpiece! The story of the most famous hairdresser of all times: Figaro – a sharp-edged razor wielder who can get anyone in a lather … You simply have to witness the incredible rapidity of this music, the brilliant solo numbers and the infectious ensembles. The opera with the most hit tunes! In Italian with German surtitles Christopher Ward, Conductor Alek Shrader, Tenor: Count Almaviva Renato Girolami, Bass: Dr. Bartolo Vesselina Kasarova, Mezzo-soprano: Rosina Nikolaj Borchev, Baritone: Figaro Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Monday 22-Mar-10 19:00 |
National Theatre, Munich Le Nozze di Figaro Munich Opera Festival |
Bavarian State Opera Juraj Valcuha, Conductor Michael Volle, Baritone: Count Almaviva Barbara Frittoli, Soprano: Rosina (Countess Almaviva) Kate Lindsey, Soprano: Cherubino Erwin Schrott, Baritone: Figaro Laura Tatulescu, Soprano: Susanna Ulrich Ress, Bass: Doctor Bartolo Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Monday 22-Mar-10 19:00 Bavarian State Opera When the servants marry, the Count wants to have a little (more) fun in the bargain. He craves the first night with Susanna, the chambermaid. Figaro is not amused. The countess and Susanna make common cause. Disguises double and then some -- and even more complications. Everybody wants everyone else - which does not always pan out. Nobody could lust after anyone to more glorious music. Summary: men are different - and so are women! In Italian with German surtitles Juraj Valcuha, Conductor Michael Volle, Baritone: Count Almaviva Barbara Frittoli, Soprano: Rosina (Countess Almaviva) Kate Lindsey, Soprano: Cherubino Erwin Schrott, Baritone: Figaro Laura Tatulescu, Soprano: Susanna Ulrich Ress, Bass: Doctor Bartolo Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Saturday 27-Mar-10 19:00 |
National Theatre, Munich Don Giovanni |
Bavarian State Opera Kent Nagano, Conductor Erwin Schrott, Baritone: Don Giovanni Phillip Ens, Bass: The Commendatore Maija Kovalevska, Soprano: Donna Elvira Alex Esposito, Bass: Leporello Levente Molnar, Baritone: Masetto Erin Wall, Soprano: Donna Anna Giuseppe Filianoti, Tenor: Don Ottavio Elena Tsallagova, Soprano: Zerlina Bavarian State Orchestra Bavarian State Opera Chorus |
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| National Theatre, Munich, Germany Saturday 27-Mar-10 19:00 Bavarian State Opera Dramma giocoso in two acts Don Giovanni – stylized by both his contemporaries and posterity in every nuance between admiration and condemnation: as a sensuous debaucher, an unfeeling cynic, a death-dealing demon, an egotist impelled by his urges, a sad angel or the proud embodiment of human self-realization. This barely comprehensible hero plays with everyone around him and acts in accordance with just one rule: long live liberty! He seduces countless women, whose lives afterwards are never the same as they were before. He murders the father of one of his conquests, when the older man gets in his way: the painful collateral damage of a compulsive quest for whatever might promise vitality? Three women and two men join forces to pursue this man, who may have released different impulses in each one of them: thirst for vengeance, desire, curiosity for the unknown, the lust for subjugation or the altruistic desire to redeem him. The closer they get to him, the more his contours dissipate. The desire to unmask him becomes an obsession to punish and destroy him. This is finally carried out by a higher power, so that his pursuers keep running into one another. Lorenzo da Ponte converted the morality play about a “punished dissolute” into a libretto for Wolfgang Amadeus Mozart. It was his music that gave the work a Janus-like countenance: a psychologically fine-tuned drama and concurrently a theatrical work that sets the final machinery of hell in motion. A dramma giocoso – a comical drama – and yet, first and foremost, a nocturnal play, in which the lust for life and the joy of life have to erupt, because death, solitude and emptiness wait on the other side. In Italian with German surtitles Kent Nagano, Conductor Erwin Schrott, Baritone: Don Giovanni Phillip Ens, Bass: The Commendatore Maija Kovalevska, Soprano: Donna Elvira Alex Esposito, Bass: Leporello Levente Molnar, Baritone: Masetto Erin Wall, Soprano: Donna Anna Giuseppe Filianoti, Tenor: Don Ottavio Elena Tsallagova, Soprano: Zerlina Bavarian State Orchestra Bavarian State Opera Chorus | ||
| Sunday 28-Mar-10 19:00 |
National Theatre, Munich Dialogues des Carmélites |
Bavarian State Opera Kent Nagano, Conductor Alain Vernhes, Baritone: Marquis de la Force Susan Gritton, Soprano: Blanche de la Force Bernard Richter, Tenor: Chevalier de la Force Felicity Palmer, Contralto: Madame de Croissy, the prioress Soile Isokoski, Soprano: Madame Lidoine, the new prioress Susanne Resmark, Mezzo-soprano: Mother Marie |
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| National Theatre, Munich, Germany Sunday 28-Mar-10 19:00 Bavarian State Opera In his 1953 opera Dialogues des Carmélites, French composer Francis Poulenc sets revolution and religion on a collision course: young Blanche de la Force, haunted from birth by panic attacks, seeks refuge in the isolation of a convent, where she hopes to overcome her torturous fear of life. Her entry into the Order of the Carmelites and her conversations with the other nuns strengthen her and her faith, but the fear remains. The French Revolution does not stop at the walls of the convent and prohibits the nuns from carrying out the rules of their order. They rise in opposition, even accepting a martyr’s death rather than give in. All except Blanche – she flees again, terrified of death. The steadfastness with which the sisters face their martyrdom rescues Blanche from her anxiety. Fearlessly, she follows them to the gallows. In French with German surtitles Kent Nagano, Conductor Alain Vernhes, Baritone: Marquis de la Force Susan Gritton, Soprano: Blanche de la Force Bernard Richter, Tenor: Chevalier de la Force Felicity Palmer, Contralto: Madame de Croissy, the prioress Soile Isokoski, Soprano: Madame Lidoine, the new prioress Susanne Resmark, Mezzo-soprano: Mother Marie | ||
| Tuesday 30-Mar-10 19:00 |
National Theatre, Munich Don Giovanni |
Bavarian State Opera Kent Nagano, Conductor Erwin Schrott, Baritone: Don Giovanni Phillip Ens, Bass: The Commendatore Maija Kovalevska, Soprano: Donna Elvira Alex Esposito, Bass: Leporello Levente Molnar, Baritone: Masetto Erin Wall, Soprano: Donna Anna Giuseppe Filianoti, Tenor: Don Ottavio Elena Tsallagova, Soprano: Zerlina Bavarian State Orchestra Bavarian State Opera Chorus |
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| National Theatre, Munich, Germany Tuesday 30-Mar-10 19:00 Bavarian State Opera Dramma giocoso in two acts Don Giovanni – stylized by both his contemporaries and posterity in every nuance between admiration and condemnation: as a sensuous debaucher, an unfeeling cynic, a death-dealing demon, an egotist impelled by his urges, a sad angel or the proud embodiment of human self-realization. This barely comprehensible hero plays with everyone around him and acts in accordance with just one rule: long live liberty! He seduces countless women, whose lives afterwards are never the same as they were before. He murders the father of one of his conquests, when the older man gets in his way: the painful collateral damage of a compulsive quest for whatever might promise vitality? Three women and two men join forces to pursue this man, who may have released different impulses in each one of them: thirst for vengeance, desire, curiosity for the unknown, the lust for subjugation or the altruistic desire to redeem him. The closer they get to him, the more his contours dissipate. The desire to unmask him becomes an obsession to punish and destroy him. This is finally carried out by a higher power, so that his pursuers keep running into one another. Lorenzo da Ponte converted the morality play about a “punished dissolute” into a libretto for Wolfgang Amadeus Mozart. It was his music that gave the work a Janus-like countenance: a psychologically fine-tuned drama and concurrently a theatrical work that sets the final machinery of hell in motion. A dramma giocoso – a comical drama – and yet, first and foremost, a nocturnal play, in which the lust for life and the joy of life have to erupt, because death, solitude and emptiness wait on the other side. In Italian with German surtitles Kent Nagano, Conductor Erwin Schrott, Baritone: Don Giovanni Phillip Ens, Bass: The Commendatore Maija Kovalevska, Soprano: Donna Elvira Alex Esposito, Bass: Leporello Levente Molnar, Baritone: Masetto Erin Wall, Soprano: Donna Anna Giuseppe Filianoti, Tenor: Don Ottavio Elena Tsallagova, Soprano: Zerlina Bavarian State Orchestra Bavarian State Opera Chorus | ||
| Thursday 1-Apr-10 19:00 |
National Theatre, Munich Dialogues des Carmélites |
Bavarian State Opera Kent Nagano, Conductor Alain Vernhes, Baritone: Marquis de la Force Susan Gritton, Soprano: Blanche de la Force Bernard Richter, Tenor: Chevalier de la Force Felicity Palmer, Contralto: Madame de Croissy, the prioress Soile Isokoski, Soprano: Madame Lidoine, the new prioress Susanne Resmark, Mezzo-soprano: Mother Marie |
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| National Theatre, Munich, Germany Thursday 1-Apr-10 19:00 Bavarian State Opera In his 1953 opera Dialogues des Carmélites, French composer Francis Poulenc sets revolution and religion on a collision course: young Blanche de la Force, haunted from birth by panic attacks, seeks refuge in the isolation of a convent, where she hopes to overcome her torturous fear of life. Her entry into the Order of the Carmelites and her conversations with the other nuns strengthen her and her faith, but the fear remains. The French Revolution does not stop at the walls of the convent and prohibits the nuns from carrying out the rules of their order. They rise in opposition, even accepting a martyr’s death rather than give in. All except Blanche – she flees again, terrified of death. The steadfastness with which the sisters face their martyrdom rescues Blanche from her anxiety. Fearlessly, she follows them to the gallows. In French with German surtitles Kent Nagano, Conductor Alain Vernhes, Baritone: Marquis de la Force Susan Gritton, Soprano: Blanche de la Force Bernard Richter, Tenor: Chevalier de la Force Felicity Palmer, Contralto: Madame de Croissy, the prioress Soile Isokoski, Soprano: Madame Lidoine, the new prioress Susanne Resmark, Mezzo-soprano: Mother Marie | ||
| Saturday 3-Apr-10 19:00 |
National Theatre, Munich Don Giovanni |
Bavarian State Opera Kent Nagano, Conductor Erwin Schrott, Baritone: Don Giovanni Phillip Ens, Bass: The Commendatore Maija Kovalevska, Soprano: Donna Elvira Alex Esposito, Bass: Leporello Levente Molnar, Baritone: Masetto Erin Wall, Soprano: Donna Anna Giuseppe Filianoti, Tenor: Don Ottavio Elena Tsallagova, Soprano: Zerlina Bavarian State Orchestra Bavarian State Opera Chorus |
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| National Theatre, Munich, Germany Saturday 3-Apr-10 19:00 Bavarian State Opera Dramma giocoso in two acts Don Giovanni – stylized by both his contemporaries and posterity in every nuance between admiration and condemnation: as a sensuous debaucher, an unfeeling cynic, a death-dealing demon, an egotist impelled by his urges, a sad angel or the proud embodiment of human self-realization. This barely comprehensible hero plays with everyone around him and acts in accordance with just one rule: long live liberty! He seduces countless women, whose lives afterwards are never the same as they were before. He murders the father of one of his conquests, when the older man gets in his way: the painful collateral damage of a compulsive quest for whatever might promise vitality? Three women and two men join forces to pursue this man, who may have released different impulses in each one of them: thirst for vengeance, desire, curiosity for the unknown, the lust for subjugation or the altruistic desire to redeem him. The closer they get to him, the more his contours dissipate. The desire to unmask him becomes an obsession to punish and destroy him. This is finally carried out by a higher power, so that his pursuers keep running into one another. Lorenzo da Ponte converted the morality play about a “punished dissolute” into a libretto for Wolfgang Amadeus Mozart. It was his music that gave the work a Janus-like countenance: a psychologically fine-tuned drama and concurrently a theatrical work that sets the final machinery of hell in motion. A dramma giocoso – a comical drama – and yet, first and foremost, a nocturnal play, in which the lust for life and the joy of life have to erupt, because death, solitude and emptiness wait on the other side. In Italian with German surtitles Kent Nagano, Conductor Erwin Schrott, Baritone: Don Giovanni Phillip Ens, Bass: The Commendatore Maija Kovalevska, Soprano: Donna Elvira Alex Esposito, Bass: Leporello Levente Molnar, Baritone: Masetto Erin Wall, Soprano: Donna Anna Giuseppe Filianoti, Tenor: Don Ottavio Elena Tsallagova, Soprano: Zerlina Bavarian State Orchestra Bavarian State Opera Chorus | ||
| Sunday 4-Apr-10 18:00 |
National Theatre, Munich Palestrina |
Bavarian State Opera Asher Fisch, Conductor Victor von Halem, Bass: Pope Pius IV Michael Volle, Baritone: Giovanni Morone John Daszak, Tenor: Bernardo Novagerio Roland Bracht, Bass: Cardinal Christoph Madruscht Thomas Johannes Mayer, Baritone: Carlo Borromeo Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Sunday 4-Apr-10 18:00 Bavarian State Opera The great musician Palestrina is pressured from two sides: his young pupil finds his compositions old-fashioned, music history seems to have passed him by – and the grand Cardinal Borromeo attempts to force him to write a mass, in which his art will reunite Christianity in the throes of a radical schism. Palestrina tries to elude all these demands, but for all of this: his bold venture proves a grand success. In a single night, he composes a truly celestial mass. The music seems to have emanated from another world. And Pfitzner’s “Palestrina” score - given its world première in Munich in 1917 - provides one final opportunity for the mystery of the autonomous, brilliant artist to come to life in the grand, unbroken romantic tradition of the 19th century. In German with German surtitles Asher Fisch, Conductor Victor von Halem, Bass: Pope Pius IV Michael Volle, Baritone: Giovanni Morone John Daszak, Tenor: Bernardo Novagerio Roland Bracht, Bass: Cardinal Christoph Madruscht Thomas Johannes Mayer, Baritone: Carlo Borromeo Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Wednesday 7-Apr-10 19:00 |
National Theatre, Munich Don Giovanni |
Bavarian State Opera Kent Nagano, Conductor Erwin Schrott, Baritone: Don Giovanni Phillip Ens, Bass: The Commendatore Maija Kovalevska, Soprano: Donna Elvira Alex Esposito, Bass: Leporello Levente Molnar, Baritone: Masetto Erin Wall, Soprano: Donna Anna Giuseppe Filianoti, Tenor: Don Ottavio Elena Tsallagova, Soprano: Zerlina Bavarian State Orchestra Bavarian State Opera Chorus |
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| National Theatre, Munich, Germany Wednesday 7-Apr-10 19:00 Bavarian State Opera Dramma giocoso in two acts Don Giovanni – stylized by both his contemporaries and posterity in every nuance between admiration and condemnation: as a sensuous debaucher, an unfeeling cynic, a death-dealing demon, an egotist impelled by his urges, a sad angel or the proud embodiment of human self-realization. This barely comprehensible hero plays with everyone around him and acts in accordance with just one rule: long live liberty! He seduces countless women, whose lives afterwards are never the same as they were before. He murders the father of one of his conquests, when the older man gets in his way: the painful collateral damage of a compulsive quest for whatever might promise vitality? Three women and two men join forces to pursue this man, who may have released different impulses in each one of them: thirst for vengeance, desire, curiosity for the unknown, the lust for subjugation or the altruistic desire to redeem him. The closer they get to him, the more his contours dissipate. The desire to unmask him becomes an obsession to punish and destroy him. This is finally carried out by a higher power, so that his pursuers keep running into one another. Lorenzo da Ponte converted the morality play about a “punished dissolute” into a libretto for Wolfgang Amadeus Mozart. It was his music that gave the work a Janus-like countenance: a psychologically fine-tuned drama and concurrently a theatrical work that sets the final machinery of hell in motion. A dramma giocoso – a comical drama – and yet, first and foremost, a nocturnal play, in which the lust for life and the joy of life have to erupt, because death, solitude and emptiness wait on the other side. In Italian with German surtitles Kent Nagano, Conductor Erwin Schrott, Baritone: Don Giovanni Phillip Ens, Bass: The Commendatore Maija Kovalevska, Soprano: Donna Elvira Alex Esposito, Bass: Leporello Levente Molnar, Baritone: Masetto Erin Wall, Soprano: Donna Anna Giuseppe Filianoti, Tenor: Don Ottavio Elena Tsallagova, Soprano: Zerlina Bavarian State Orchestra Bavarian State Opera Chorus | ||
| Thursday 8-Apr-10 19:00 |
National Theatre, Munich Dialogues des Carmélites |
Bavarian State Opera Kent Nagano, Conductor Alain Vernhes, Baritone: Marquis de la Force Susan Gritton, Soprano: Blanche de la Force Bernard Richter, Tenor: Chevalier de la Force Felicity Palmer, Contralto: Madame de Croissy, the prioress Soile Isokoski, Soprano: Madame Lidoine, the new prioress Susanne Resmark, Mezzo-soprano: Mother Marie |
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| National Theatre, Munich, Germany Thursday 8-Apr-10 19:00 Bavarian State Opera In his 1953 opera Dialogues des Carmélites, French composer Francis Poulenc sets revolution and religion on a collision course: young Blanche de la Force, haunted from birth by panic attacks, seeks refuge in the isolation of a convent, where she hopes to overcome her torturous fear of life. Her entry into the Order of the Carmelites and her conversations with the other nuns strengthen her and her faith, but the fear remains. The French Revolution does not stop at the walls of the convent and prohibits the nuns from carrying out the rules of their order. They rise in opposition, even accepting a martyr’s death rather than give in. All except Blanche – she flees again, terrified of death. The steadfastness with which the sisters face their martyrdom rescues Blanche from her anxiety. Fearlessly, she follows them to the gallows. In French with German surtitles Kent Nagano, Conductor Alain Vernhes, Baritone: Marquis de la Force Susan Gritton, Soprano: Blanche de la Force Bernard Richter, Tenor: Chevalier de la Force Felicity Palmer, Contralto: Madame de Croissy, the prioress Soile Isokoski, Soprano: Madame Lidoine, the new prioress Susanne Resmark, Mezzo-soprano: Mother Marie | ||
| Saturday 10-Apr-10 19:00 |
National Theatre, Munich Don Giovanni |
Bavarian State Opera Kent Nagano, Conductor Erwin Schrott, Baritone: Don Giovanni Phillip Ens, Bass: The Commendatore Maija Kovalevska, Soprano: Donna Elvira Alex Esposito, Bass: Leporello Levente Molnar, Baritone: Masetto Erin Wall, Soprano: Donna Anna Giuseppe Filianoti, Tenor: Don Ottavio Elena Tsallagova, Soprano: Zerlina Bavarian State Orchestra Bavarian State Opera Chorus |
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| National Theatre, Munich, Germany Saturday 10-Apr-10 19:00 Bavarian State Opera Dramma giocoso in two acts Don Giovanni – stylized by both his contemporaries and posterity in every nuance between admiration and condemnation: as a sensuous debaucher, an unfeeling cynic, a death-dealing demon, an egotist impelled by his urges, a sad angel or the proud embodiment of human self-realization. This barely comprehensible hero plays with everyone around him and acts in accordance with just one rule: long live liberty! He seduces countless women, whose lives afterwards are never the same as they were before. He murders the father of one of his conquests, when the older man gets in his way: the painful collateral damage of a compulsive quest for whatever might promise vitality? Three women and two men join forces to pursue this man, who may have released different impulses in each one of them: thirst for vengeance, desire, curiosity for the unknown, the lust for subjugation or the altruistic desire to redeem him. The closer they get to him, the more his contours dissipate. The desire to unmask him becomes an obsession to punish and destroy him. This is finally carried out by a higher power, so that his pursuers keep running into one another. Lorenzo da Ponte converted the morality play about a “punished dissolute” into a libretto for Wolfgang Amadeus Mozart. It was his music that gave the work a Janus-like countenance: a psychologically fine-tuned drama and concurrently a theatrical work that sets the final machinery of hell in motion. A dramma giocoso – a comical drama – and yet, first and foremost, a nocturnal play, in which the lust for life and the joy of life have to erupt, because death, solitude and emptiness wait on the other side. In Italian with German surtitles Kent Nagano, Conductor Erwin Schrott, Baritone: Don Giovanni Phillip Ens, Bass: The Commendatore Maija Kovalevska, Soprano: Donna Elvira Alex Esposito, Bass: Leporello Levente Molnar, Baritone: Masetto Erin Wall, Soprano: Donna Anna Giuseppe Filianoti, Tenor: Don Ottavio Elena Tsallagova, Soprano: Zerlina Bavarian State Orchestra Bavarian State Opera Chorus | ||
| Sunday 11-Apr-10 18:00 |
National Theatre, Munich Palestrina |
Bavarian State Opera Asher Fisch, Conductor Victor von Halem, Bass: Pope Pius IV Michael Volle, Baritone: Giovanni Morone John Daszak, Tenor: Bernardo Novagerio Roland Bracht, Bass: Cardinal Christoph Madruscht Thomas Johannes Mayer, Baritone: Carlo Borromeo Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Sunday 11-Apr-10 18:00 Bavarian State Opera The great musician Palestrina is pressured from two sides: his young pupil finds his compositions old-fashioned, music history seems to have passed him by – and the grand Cardinal Borromeo attempts to force him to write a mass, in which his art will reunite Christianity in the throes of a radical schism. Palestrina tries to elude all these demands, but for all of this: his bold venture proves a grand success. In a single night, he composes a truly celestial mass. The music seems to have emanated from another world. And Pfitzner’s “Palestrina” score - given its world première in Munich in 1917 - provides one final opportunity for the mystery of the autonomous, brilliant artist to come to life in the grand, unbroken romantic tradition of the 19th century. In German with German surtitles Asher Fisch, Conductor Victor von Halem, Bass: Pope Pius IV Michael Volle, Baritone: Giovanni Morone John Daszak, Tenor: Bernardo Novagerio Roland Bracht, Bass: Cardinal Christoph Madruscht Thomas Johannes Mayer, Baritone: Carlo Borromeo Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Wednesday 14-Apr-10 19:00 |
National Theatre, Munich Dialogues des Carmélites |
Bavarian State Opera Kent Nagano, Conductor Alain Vernhes, Baritone: Marquis de la Force Susan Gritton, Soprano: Blanche de la Force Bernard Richter, Tenor: Chevalier de la Force Felicity Palmer, Contralto: Madame de Croissy, the prioress Soile Isokoski, Soprano: Madame Lidoine, the new prioress Susanne Resmark, Mezzo-soprano: Mother Marie |
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| National Theatre, Munich, Germany Wednesday 14-Apr-10 19:00 Bavarian State Opera In his 1953 opera Dialogues des Carmélites, French composer Francis Poulenc sets revolution and religion on a collision course: young Blanche de la Force, haunted from birth by panic attacks, seeks refuge in the isolation of a convent, where she hopes to overcome her torturous fear of life. Her entry into the Order of the Carmelites and her conversations with the other nuns strengthen her and her faith, but the fear remains. The French Revolution does not stop at the walls of the convent and prohibits the nuns from carrying out the rules of their order. They rise in opposition, even accepting a martyr’s death rather than give in. All except Blanche – she flees again, terrified of death. The steadfastness with which the sisters face their martyrdom rescues Blanche from her anxiety. Fearlessly, she follows them to the gallows. In French with German surtitles Kent Nagano, Conductor Alain Vernhes, Baritone: Marquis de la Force Susan Gritton, Soprano: Blanche de la Force Bernard Richter, Tenor: Chevalier de la Force Felicity Palmer, Contralto: Madame de Croissy, the prioress Soile Isokoski, Soprano: Madame Lidoine, the new prioress Susanne Resmark, Mezzo-soprano: Mother Marie | ||
| Thursday 15-Apr-10 18:00 |
National Theatre, Munich Palestrina |
Bavarian State Opera Asher Fisch, Conductor Victor von Halem, Bass: Pope Pius IV Michael Volle, Baritone: Giovanni Morone John Daszak, Tenor: Bernardo Novagerio Roland Bracht, Bass: Cardinal Christoph Madruscht Thomas Johannes Mayer, Baritone: Carlo Borromeo Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Thursday 15-Apr-10 18:00 Bavarian State Opera The great musician Palestrina is pressured from two sides: his young pupil finds his compositions old-fashioned, music history seems to have passed him by – and the grand Cardinal Borromeo attempts to force him to write a mass, in which his art will reunite Christianity in the throes of a radical schism. Palestrina tries to elude all these demands, but for all of this: his bold venture proves a grand success. In a single night, he composes a truly celestial mass. The music seems to have emanated from another world. And Pfitzner’s “Palestrina” score - given its world première in Munich in 1917 - provides one final opportunity for the mystery of the autonomous, brilliant artist to come to life in the grand, unbroken romantic tradition of the 19th century. In German with German surtitles Asher Fisch, Conductor Victor von Halem, Bass: Pope Pius IV Michael Volle, Baritone: Giovanni Morone John Daszak, Tenor: Bernardo Novagerio Roland Bracht, Bass: Cardinal Christoph Madruscht Thomas Johannes Mayer, Baritone: Carlo Borromeo Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Friday 16-Apr-10 20:00 |
National Theatre, Munich Wozzeck |
Bavarian State Opera Lothar Koenigs, Conductor Michael Volle, Baritone: Wozzeck Endrik Wottrich, Tenor: Drum major Kevin Conners, Tenor: Andres Wolfgang Schmidt, Tenor: Captain Clive Bayley, Bass: Doctor Waltraud Meier, Soprano: Marie Heike Grötzinger, Contralto: Margret Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Friday 16-Apr-10 20:00 Bavarian State Opera Wozzeck - a good man, who just wants to live his life. But the world around him strikes him down. It preys on his thoughts and triggers horrible anxieties in his soul. He struggles for words to explain himself, until his own utterance, if apart. Not even the woman he loves can understand him and becomes more and more alienated from him. Driven by the struggle to exist and unspeakable fear, pursued by the violence of his perverse fellow humans who feast on his terror, this Wozzeck Hustles through life like a hunted animal until he can no longer endure the pressure and destroys his beloved and himself. In the year of its creation in 1836, Georg Büchner's drama, already pointed the way to the modern era with its terse, analytically sharp and ironic language. Some 80 years after it had come to be, War on the eve of the First World. Alban Berg discovered the fragment, which was all that Remained of the play. Struck by the quintessential catastrophe of the "Wozzeck affair", he created a score unique in the annals of 20th century music theater to lament the loss of mankind fall and a world on the brink of decay. Stage director Andreas Kriegenburg tells of how life can turn into a horrifying nightmare from which there is no awakening, and in which the dreamer himself finally becomes a monster. In German Co-production with the New National Theater Tokyo Lothar Koenigs, Conductor Michael Volle, Baritone: Wozzeck Endrik Wottrich, Tenor: Drum major Kevin Conners, Tenor: Andres Wolfgang Schmidt, Tenor: Captain Clive Bayley, Bass: Doctor Waltraud Meier, Soprano: Marie Heike Grötzinger, Contralto: Margret Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Saturday 17-Apr-10 19:00 |
National Theatre, Munich Dialogues des Carmélites |
Bavarian State Opera Kent Nagano, Conductor Alain Vernhes, Baritone: Marquis de la Force Susan Gritton, Soprano: Blanche de la Force Bernard Richter, Tenor: Chevalier de la Force Felicity Palmer, Contralto: Madame de Croissy, the prioress Soile Isokoski, Soprano: Madame Lidoine, the new prioress Susanne Resmark, Mezzo-soprano: Mother Marie |
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| National Theatre, Munich, Germany Saturday 17-Apr-10 19:00 Bavarian State Opera In his 1953 opera Dialogues des Carmélites, French composer Francis Poulenc sets revolution and religion on a collision course: young Blanche de la Force, haunted from birth by panic attacks, seeks refuge in the isolation of a convent, where she hopes to overcome her torturous fear of life. Her entry into the Order of the Carmelites and her conversations with the other nuns strengthen her and her faith, but the fear remains. The French Revolution does not stop at the walls of the convent and prohibits the nuns from carrying out the rules of their order. They rise in opposition, even accepting a martyr’s death rather than give in. All except Blanche – she flees again, terrified of death. The steadfastness with which the sisters face their martyrdom rescues Blanche from her anxiety. Fearlessly, she follows them to the gallows. In French with German surtitles Kent Nagano, Conductor Alain Vernhes, Baritone: Marquis de la Force Susan Gritton, Soprano: Blanche de la Force Bernard Richter, Tenor: Chevalier de la Force Felicity Palmer, Contralto: Madame de Croissy, the prioress Soile Isokoski, Soprano: Madame Lidoine, the new prioress Susanne Resmark, Mezzo-soprano: Mother Marie | ||
| Sunday 18-Apr-10 17:00 |
National Theatre, Munich Palestrina |
Bavarian State Opera Asher Fisch, Conductor Victor von Halem, Bass: Pope Pius IV Michael Volle, Baritone: Giovanni Morone John Daszak, Tenor: Bernardo Novagerio Roland Bracht, Bass: Cardinal Christoph Madruscht Thomas Johannes Mayer, Baritone: Carlo Borromeo Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Sunday 18-Apr-10 17:00 Bavarian State Opera The great musician Palestrina is pressured from two sides: his young pupil finds his compositions old-fashioned, music history seems to have passed him by – and the grand Cardinal Borromeo attempts to force him to write a mass, in which his art will reunite Christianity in the throes of a radical schism. Palestrina tries to elude all these demands, but for all of this: his bold venture proves a grand success. In a single night, he composes a truly celestial mass. The music seems to have emanated from another world. And Pfitzner’s “Palestrina” score - given its world première in Munich in 1917 - provides one final opportunity for the mystery of the autonomous, brilliant artist to come to life in the grand, unbroken romantic tradition of the 19th century. In German with German surtitles Asher Fisch, Conductor Victor von Halem, Bass: Pope Pius IV Michael Volle, Baritone: Giovanni Morone John Daszak, Tenor: Bernardo Novagerio Roland Bracht, Bass: Cardinal Christoph Madruscht Thomas Johannes Mayer, Baritone: Carlo Borromeo Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Wednesday 21-Apr-10 20:00 |
National Theatre, Munich Wozzeck |
Bavarian State Opera Lothar Koenigs, Conductor Michael Volle, Baritone: Wozzeck Endrik Wottrich, Tenor: Drum major Kevin Conners, Tenor: Andres Wolfgang Schmidt, Tenor: Captain Clive Bayley, Bass: Doctor Waltraud Meier, Soprano: Marie Heike Grötzinger, Contralto: Margret Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Wednesday 21-Apr-10 20:00 Bavarian State Opera Wozzeck - a good man, who just wants to live his life. But the world around him strikes him down. It preys on his thoughts and triggers horrible anxieties in his soul. He struggles for words to explain himself, until his own utterance, if apart. Not even the woman he loves can understand him and becomes more and more alienated from him. Driven by the struggle to exist and unspeakable fear, pursued by the violence of his perverse fellow humans who feast on his terror, this Wozzeck Hustles through life like a hunted animal until he can no longer endure the pressure and destroys his beloved and himself. In the year of its creation in 1836, Georg Büchner's drama, already pointed the way to the modern era with its terse, analytically sharp and ironic language. Some 80 years after it had come to be, War on the eve of the First World. Alban Berg discovered the fragment, which was all that Remained of the play. Struck by the quintessential catastrophe of the "Wozzeck affair", he created a score unique in the annals of 20th century music theater to lament the loss of mankind fall and a world on the brink of decay. Stage director Andreas Kriegenburg tells of how life can turn into a horrifying nightmare from which there is no awakening, and in which the dreamer himself finally becomes a monster. In German Co-production with the New National Theater Tokyo Lothar Koenigs, Conductor Michael Volle, Baritone: Wozzeck Endrik Wottrich, Tenor: Drum major Kevin Conners, Tenor: Andres Wolfgang Schmidt, Tenor: Captain Clive Bayley, Bass: Doctor Waltraud Meier, Soprano: Marie Heike Grötzinger, Contralto: Margret Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Friday 23-Apr-10 19:30 |
National Theatre, Munich Dialogues des Carmélites |
Bavarian State Opera Kent Nagano, Conductor Alain Vernhes, Baritone: Marquis de la Force Susan Gritton, Soprano: Blanche de la Force Bernard Richter, Tenor: Chevalier de la Force Felicity Palmer, Contralto: Madame de Croissy, the prioress Soile Isokoski, Soprano: Madame Lidoine, the new prioress Susanne Resmark, Mezzo-soprano: Mother Marie |
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| National Theatre, Munich, Germany Friday 23-Apr-10 19:30 Bavarian State Opera In his 1953 opera Dialogues des Carmélites, French composer Francis Poulenc sets revolution and religion on a collision course: young Blanche de la Force, haunted from birth by panic attacks, seeks refuge in the isolation of a convent, where she hopes to overcome her torturous fear of life. Her entry into the Order of the Carmelites and her conversations with the other nuns strengthen her and her faith, but the fear remains. The French Revolution does not stop at the walls of the convent and prohibits the nuns from carrying out the rules of their order. They rise in opposition, even accepting a martyr’s death rather than give in. All except Blanche – she flees again, terrified of death. The steadfastness with which the sisters face their martyrdom rescues Blanche from her anxiety. Fearlessly, she follows them to the gallows. In French with German surtitles Kent Nagano, Conductor Alain Vernhes, Baritone: Marquis de la Force Susan Gritton, Soprano: Blanche de la Force Bernard Richter, Tenor: Chevalier de la Force Felicity Palmer, Contralto: Madame de Croissy, the prioress Soile Isokoski, Soprano: Madame Lidoine, the new prioress Susanne Resmark, Mezzo-soprano: Mother Marie | ||
| Saturday 24-Apr-10 20:00 |
National Theatre, Munich Wozzeck |
Bavarian State Opera Lothar Koenigs, Conductor Michael Volle, Baritone: Wozzeck Endrik Wottrich, Tenor: Drum major Kevin Conners, Tenor: Andres Wolfgang Schmidt, Tenor: Captain Clive Bayley, Bass: Doctor Waltraud Meier, Soprano: Marie Heike Grötzinger, Contralto: Margret Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Saturday 24-Apr-10 20:00 Bavarian State Opera Wozzeck - a good man, who just wants to live his life. But the world around him strikes him down. It preys on his thoughts and triggers horrible anxieties in his soul. He struggles for words to explain himself, until his own utterance, if apart. Not even the woman he loves can understand him and becomes more and more alienated from him. Driven by the struggle to exist and unspeakable fear, pursued by the violence of his perverse fellow humans who feast on his terror, this Wozzeck Hustles through life like a hunted animal until he can no longer endure the pressure and destroys his beloved and himself. In the year of its creation in 1836, Georg Büchner's drama, already pointed the way to the modern era with its terse, analytically sharp and ironic language. Some 80 years after it had come to be, War on the eve of the First World. Alban Berg discovered the fragment, which was all that Remained of the play. Struck by the quintessential catastrophe of the "Wozzeck affair", he created a score unique in the annals of 20th century music theater to lament the loss of mankind fall and a world on the brink of decay. Stage director Andreas Kriegenburg tells of how life can turn into a horrifying nightmare from which there is no awakening, and in which the dreamer himself finally becomes a monster. In German Co-production with the New National Theater Tokyo Lothar Koenigs, Conductor Michael Volle, Baritone: Wozzeck Endrik Wottrich, Tenor: Drum major Kevin Conners, Tenor: Andres Wolfgang Schmidt, Tenor: Captain Clive Bayley, Bass: Doctor Waltraud Meier, Soprano: Marie Heike Grötzinger, Contralto: Margret Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Wednesday 12-May-10 19:00 |
National Theatre, Munich Aida |
Bavarian State Opera Daniele Callegari, Conductor Hui He, Soprano: Aida Ildiko Komlosi, Mezzo-soprano: Amneris Steven Humes, Tenor: Radames Lado Ataneli, Baritone: Amonasro Christian Van Horn, Bass: King of Egypt Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Wednesday 12-May-10 19:00 Bavarian State Opera A work that gravitates back and forth between the grandest of grand opera and intimate drama. Over and over again, we hear the sound of singing behind walls. Don’t these walls also have ears? The pharaoh’s daughter Amneris is to marry. She has been offered to the officer Radames as a reward for his victory in battle over the enemy. Whom would Aida love if she were not a war prisoner? … The effect of state power and war on human relationships. In Italian with German surtitles Daniele Callegari, Conductor Hui He, Soprano: Aida Ildiko Komlosi, Mezzo-soprano: Amneris Steven Humes, Tenor: Radames Lado Ataneli, Baritone: Amonasro Christian Van Horn, Bass: King of Egypt Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Thursday 13-May-10 18:00 |
National Theatre, Munich L'elisir d'amore |
Bavarian State Opera Juraj Valcuha, Conductor Laura Tatulescu, Soprano: Adina Dmitry Korchak, Tenor: Nemorino Fabio Maria Capitanucci, Baritone: Belcore Ambrogio Maestri, Bass: Dulcamara Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Thursday 13-May-10 18:00 Bavarian State Opera Variety is a scarce commodity in the glum little village depicted by Gaetano Donizetti and his librettist Felice Romani – the only prospects beyond the stifling confines of this backwater seem to be the illusion of a hero’s life as a soldier, even if it might lead to an untimely death. But what wonders a little bottle of Bordeaux can work! Shrinking violet Nemorino really turns up the volume courting Adina after just a couple of sips of the love elixir he purchased from miracle doctor, Dulcamara. And the potion promptly takes effect. Nemorino turns into a daredevil, preferring to die in battle rather than see his beloved Adina fall into the hands of strapping Sergeant Belcore. The ambitious Adina cannot resist the charms of the bold Nemorino – and even Dulcamara is flabbergasted at the energy and transformation released by his deception: this woebegone world of dolorous yearning is suddenly filled with color and fantasy. And the listeners are left with the hope that this music might be able to transform them, too. Italian with German surtitles Juraj Valcuha, Conductor Laura Tatulescu, Soprano: Adina Dmitry Korchak, Tenor: Nemorino Fabio Maria Capitanucci, Baritone: Belcore Ambrogio Maestri, Bass: Dulcamara Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Saturday 15-May-10 19:00 |
National Theatre, Munich Aida |
Bavarian State Opera Daniele Callegari, Conductor Hui He, Soprano: Aida Ildiko Komlosi, Mezzo-soprano: Amneris Steven Humes, Tenor: Radames Lado Ataneli, Baritone: Amonasro Christian Van Horn, Bass: King of Egypt Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Saturday 15-May-10 19:00 Bavarian State Opera A work that gravitates back and forth between the grandest of grand opera and intimate drama. Over and over again, we hear the sound of singing behind walls. Don’t these walls also have ears? The pharaoh’s daughter Amneris is to marry. She has been offered to the officer Radames as a reward for his victory in battle over the enemy. Whom would Aida love if she were not a war prisoner? … The effect of state power and war on human relationships. In Italian with German surtitles Daniele Callegari, Conductor Hui He, Soprano: Aida Ildiko Komlosi, Mezzo-soprano: Amneris Steven Humes, Tenor: Radames Lado Ataneli, Baritone: Amonasro Christian Van Horn, Bass: King of Egypt Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Sunday 16-May-10 19:00 |
National Theatre, Munich L'elisir d'amore |
Bavarian State Opera Juraj Valcuha, Conductor Laura Tatulescu, Soprano: Adina Dmitry Korchak, Tenor: Nemorino Fabio Maria Capitanucci, Baritone: Belcore Ambrogio Maestri, Bass: Dulcamara Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Sunday 16-May-10 19:00 Bavarian State Opera Variety is a scarce commodity in the glum little village depicted by Gaetano Donizetti and his librettist Felice Romani – the only prospects beyond the stifling confines of this backwater seem to be the illusion of a hero’s life as a soldier, even if it might lead to an untimely death. But what wonders a little bottle of Bordeaux can work! Shrinking violet Nemorino really turns up the volume courting Adina after just a couple of sips of the love elixir he purchased from miracle doctor, Dulcamara. And the potion promptly takes effect. Nemorino turns into a daredevil, preferring to die in battle rather than see his beloved Adina fall into the hands of strapping Sergeant Belcore. The ambitious Adina cannot resist the charms of the bold Nemorino – and even Dulcamara is flabbergasted at the energy and transformation released by his deception: this woebegone world of dolorous yearning is suddenly filled with color and fantasy. And the listeners are left with the hope that this music might be able to transform them, too. Italian with German surtitles Juraj Valcuha, Conductor Laura Tatulescu, Soprano: Adina Dmitry Korchak, Tenor: Nemorino Fabio Maria Capitanucci, Baritone: Belcore Ambrogio Maestri, Bass: Dulcamara Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Wednesday 19-May-10 19:00 |
National Theatre, Munich Aida |
Bavarian State Opera Daniele Callegari, Conductor Hui He, Soprano: Aida Ildiko Komlosi, Mezzo-soprano: Amneris Steven Humes, Tenor: Radames Lado Ataneli, Baritone: Amonasro Christian Van Horn, Bass: King of Egypt Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Wednesday 19-May-10 19:00 Bavarian State Opera A work that gravitates back and forth between the grandest of grand opera and intimate drama. Over and over again, we hear the sound of singing behind walls. Don’t these walls also have ears? The pharaoh’s daughter Amneris is to marry. She has been offered to the officer Radames as a reward for his victory in battle over the enemy. Whom would Aida love if she were not a war prisoner? … The effect of state power and war on human relationships. In Italian with German surtitles Daniele Callegari, Conductor Hui He, Soprano: Aida Ildiko Komlosi, Mezzo-soprano: Amneris Steven Humes, Tenor: Radames Lado Ataneli, Baritone: Amonasro Christian Van Horn, Bass: King of Egypt Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Friday 21-May-10 19:00 |
National Theatre, Munich L'elisir d'amore |
Bavarian State Opera Juraj Valcuha, Conductor Laura Tatulescu, Soprano: Adina Dmitry Korchak, Tenor: Nemorino Fabio Maria Capitanucci, Baritone: Belcore Ambrogio Maestri, Bass: Dulcamara Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Friday 21-May-10 19:00 Bavarian State Opera Variety is a scarce commodity in the glum little village depicted by Gaetano Donizetti and his librettist Felice Romani – the only prospects beyond the stifling confines of this backwater seem to be the illusion of a hero’s life as a soldier, even if it might lead to an untimely death. But what wonders a little bottle of Bordeaux can work! Shrinking violet Nemorino really turns up the volume courting Adina after just a couple of sips of the love elixir he purchased from miracle doctor, Dulcamara. And the potion promptly takes effect. Nemorino turns into a daredevil, preferring to die in battle rather than see his beloved Adina fall into the hands of strapping Sergeant Belcore. The ambitious Adina cannot resist the charms of the bold Nemorino – and even Dulcamara is flabbergasted at the energy and transformation released by his deception: this woebegone world of dolorous yearning is suddenly filled with color and fantasy. And the listeners are left with the hope that this music might be able to transform them, too. Italian with German surtitles Juraj Valcuha, Conductor Laura Tatulescu, Soprano: Adina Dmitry Korchak, Tenor: Nemorino Fabio Maria Capitanucci, Baritone: Belcore Ambrogio Maestri, Bass: Dulcamara Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Saturday 22-May-10 19:30 |
National Theatre, Munich Die Entführung aus dem Serail |
Bavarian State Opera Johannes Debus, Conductor Jane Archibald, Soprano: Konstanze Olga Peretyatko, Soprano: Blondchen Charles Castronovo, Tenor: Belmonte Kevin Conners, Tenor: Pedrillo Peter Rose, Baritone: Osmin Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Saturday 22-May-10 19:30 Die Entführung aus dem Serail (The Abduction from the Harem), K384 (Mozart, Wolfgang Amadeus (1756-1791)) Bavarian State Opera  A European woman in the hands of Muslim fundamentalists. A western rescue mission goes awry. Execution by the special unit is a foregone conclusion. But: vengeance is nothing - forgiveness everything! Unfortunately only a very few have the greatness of heart to exercise it. Mozart's contribution to the clash of civilizations and a not-to-be-underestimated comedy for music. In German Johannes Debus, Conductor Jane Archibald, Soprano: Konstanze Olga Peretyatko, Soprano: Blondchen Charles Castronovo, Tenor: Belmonte Kevin Conners, Tenor: Pedrillo Peter Rose, Baritone: Osmin Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Sunday 23-May-10 18:00 |
National Theatre, Munich Aida |
Bavarian State Opera Daniele Callegari, Conductor Hui He, Soprano: Aida Ildiko Komlosi, Mezzo-soprano: Amneris Steven Humes, Tenor: Radames Lado Ataneli, Baritone: Amonasro Christian Van Horn, Bass: King of Egypt Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Sunday 23-May-10 18:00 Bavarian State Opera A work that gravitates back and forth between the grandest of grand opera and intimate drama. Over and over again, we hear the sound of singing behind walls. Don’t these walls also have ears? The pharaoh’s daughter Amneris is to marry. She has been offered to the officer Radames as a reward for his victory in battle over the enemy. Whom would Aida love if she were not a war prisoner? … The effect of state power and war on human relationships. In Italian with German surtitles Daniele Callegari, Conductor Hui He, Soprano: Aida Ildiko Komlosi, Mezzo-soprano: Amneris Steven Humes, Tenor: Radames Lado Ataneli, Baritone: Amonasro Christian Van Horn, Bass: King of Egypt Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Thursday 27-May-10 19:30 |
National Theatre, Munich Die Entführung aus dem Serail |
Bavarian State Opera Johannes Debus, Conductor Jane Archibald, Soprano: Konstanze Olga Peretyatko, Soprano: Blondchen Charles Castronovo, Tenor: Belmonte Kevin Conners, Tenor: Pedrillo Peter Rose, Baritone: Osmin Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Thursday 27-May-10 19:30 Die Entführung aus dem Serail (The Abduction from the Harem), K384 (Mozart, Wolfgang Amadeus (1756-1791)) Bavarian State Opera A European woman in the hands of Muslim fundamentalists. A western rescue mission goes awry. Execution by the special unit is a foregone conclusion. But: vengeance is nothing - forgiveness everything! Unfortunately only a very few have the greatness of heart to exercise it. Mozart's contribution to the clash of civilizations and a not-to-be-underestimated comedy for music. In German Johannes Debus, Conductor Jane Archibald, Soprano: Konstanze Olga Peretyatko, Soprano: Blondchen Charles Castronovo, Tenor: Belmonte Kevin Conners, Tenor: Pedrillo Peter Rose, Baritone: Osmin Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Saturday 29-May-10 19:30 |
National Theatre, Munich Die Entführung aus dem Serail |
Bavarian State Opera Johannes Debus, Conductor Jane Archibald, Soprano: Konstanze Olga Peretyatko, Soprano: Blondchen Charles Castronovo, Tenor: Belmonte Kevin Conners, Tenor: Pedrillo Peter Rose, Baritone: Osmin Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Saturday 29-May-10 19:30 Die Entführung aus dem Serail (The Abduction from the Harem), K384 (Mozart, Wolfgang Amadeus (1756-1791)) Bavarian State Opera A European woman in the hands of Muslim fundamentalists. A western rescue mission goes awry. Execution by the special unit is a foregone conclusion. But: vengeance is nothing - forgiveness everything! Unfortunately only a very few have the greatness of heart to exercise it. Mozart's contribution to the clash of civilizations and a not-to-be-underestimated comedy for music. In German Johannes Debus, Conductor Jane Archibald, Soprano: Konstanze Olga Peretyatko, Soprano: Blondchen Charles Castronovo, Tenor: Belmonte Kevin Conners, Tenor: Pedrillo Peter Rose, Baritone: Osmin Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Sunday 30-May-10 19:00 |
National Theatre, Munich Carmen |
Bavarian State Opera Karel Mark Chichon, Conductor Jonas Kaufmann, Tenor: Don José Ildebrando D'Arcangelo, Baritone: Escamillo Elīna Garanča, Mezzo-soprano: Carmen Genia Kühmeier, Soprano: Micaela Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Sunday 30-May-10 19:00 Bavarian State Opera "Toréador, en garde!" Captivating rhythms, ravishing melodies. Two machos and a powerful woman: Carmen – plus all the torrid heat of Spain. Just the right blend for passion and death. "A work of shocking immorality!" wrote one disgruntled critic after the world première. He was right – and there's nothing wrong with that. Bizet's masterwork continues to captivate. In French with German surtitles Karel Mark Chichon, Conductor Jonas Kaufmann, Tenor: Don José Ildebrando D'Arcangelo, Baritone: Escamillo Elīna Garanča, Mezzo-soprano: Carmen Genia Kühmeier, Soprano: Micaela Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Wednesday 2-Jun-10 20:00 |
National Theatre, Munich Die Entführung aus dem Serail |
Bavarian State Opera Johannes Debus, Conductor Jane Archibald, Soprano: Konstanze Olga Peretyatko, Soprano: Blondchen Charles Castronovo, Tenor: Belmonte Kevin Conners, Tenor: Pedrillo Peter Rose, Baritone: Osmin Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Wednesday 2-Jun-10 20:00 Die Entführung aus dem Serail (The Abduction from the Harem), K384 (Mozart, Wolfgang Amadeus (1756-1791)) Bavarian State Opera A European woman in the hands of Muslim fundamentalists. A western rescue mission goes awry. Execution by the special unit is a foregone conclusion. But: vengeance is nothing - forgiveness everything! Unfortunately only a very few have the greatness of heart to exercise it. Mozart's contribution to the clash of civilizations and a not-to-be-underestimated comedy for music. In German Johannes Debus, Conductor Jane Archibald, Soprano: Konstanze Olga Peretyatko, Soprano: Blondchen Charles Castronovo, Tenor: Belmonte Kevin Conners, Tenor: Pedrillo Peter Rose, Baritone: Osmin Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Thursday 3-Jun-10 18:00 |
National Theatre, Munich Carmen |
Bavarian State Opera Karel Mark Chichon, Conductor Jonas Kaufmann, Tenor: Don José Ildebrando D'Arcangelo, Baritone: Escamillo Elīna Garanča, Mezzo-soprano: Carmen Genia Kühmeier, Soprano: Micaela Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Thursday 3-Jun-10 18:00 Bavarian State Opera "Toréador, en garde!" Captivating rhythms, ravishing melodies. Two machos and a powerful woman: Carmen – plus all the torrid heat of Spain. Just the right blend for passion and death. "A work of shocking immorality!" wrote one disgruntled critic after the world première. He was right – and there's nothing wrong with that. Bizet's masterwork continues to captivate. In French with German surtitles Karel Mark Chichon, Conductor Jonas Kaufmann, Tenor: Don José Ildebrando D'Arcangelo, Baritone: Escamillo Elīna Garanča, Mezzo-soprano: Carmen Genia Kühmeier, Soprano: Micaela Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Sunday 6-Jun-10 18:00 |
National Theatre, Munich Carmen |
Bavarian State Opera Karel Mark Chichon, Conductor Jonas Kaufmann, Tenor: Don José Ildebrando D'Arcangelo, Baritone: Escamillo Elīna Garanča, Mezzo-soprano: Carmen Genia Kühmeier, Soprano: Micaela Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Sunday 6-Jun-10 18:00 Bavarian State Opera "Toréador, en garde!" Captivating rhythms, ravishing melodies. Two machos and a powerful woman: Carmen – plus all the torrid heat of Spain. Just the right blend for passion and death. "A work of shocking immorality!" wrote one disgruntled critic after the world première. He was right – and there's nothing wrong with that. Bizet's masterwork continues to captivate. In French with German surtitles Karel Mark Chichon, Conductor Jonas Kaufmann, Tenor: Don José Ildebrando D'Arcangelo, Baritone: Escamillo Elīna Garanča, Mezzo-soprano: Carmen Genia Kühmeier, Soprano: Micaela Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Monday 7-Jun-10 19:00 |
National Theatre, Munich Medea in Corinto |
Bavarian State Opera Ivor Bolton, Conductor Alastair Miles, Bass: Creonte Alek Shrader, Tenor: Egeo Nadja Michael, Soprano: Medea Ramón Vargas, Tenor: Giasone Elena Tsallagova, Soprano: Creusa Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Monday 7-Jun-10 19:00 Bavarian State Opera The deed is incomprehensible to this day: because her husband Jason wants to leave her for Kreusa the daughter of the Corinthian King, the sorceress Medea totally loses all mental and physical control and murders her own children in a frantic act of inhuman vengeance. Since ancient times, the Medea story has been a topos of boundless maternal cruelty, in which love turns to violence, and the rules that bind humans together are abrogated. With her magical and demonic powers and her clairvoyant knowledge Medea is a character who sparks primal fears and thus deserves to be shut out of human society. With Medea in Corinto, arguably the most important Italian opera composer between Mozart and Rossini, Giovanni Simone Mayr, landed one of his biggest hits in Naples in 1813 – but actually this composer came from near Ingolstadt in Bavaria, transformed himself from Johann Simon to Giovanni Simone in his adopted country of Italy and also became one of the most significant composition teachers of his time. And the music for this downright impossible and unorthodox operatic character – after having been rarely performed for almost 200 years – has now slowly regained its rights, even if its story continues to be massively unsettling. Ivor Bolton, Conductor Alastair Miles, Bass: Creonte Alek Shrader, Tenor: Egeo Nadja Michael, Soprano: Medea Ramón Vargas, Tenor: Giasone Elena Tsallagova, Soprano: Creusa Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Wednesday 9-Jun-10 19:00 |
National Theatre, Munich Carmen |
Bavarian State Opera Karel Mark Chichon, Conductor Jonas Kaufmann, Tenor: Don José Ildebrando D'Arcangelo, Baritone: Escamillo Elīna Garanča, Mezzo-soprano: Carmen Genia Kühmeier, Soprano: Micaela Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Wednesday 9-Jun-10 19:00 Bavarian State Opera "Toréador, en garde!" Captivating rhythms, ravishing melodies. Two machos and a powerful woman: Carmen – plus all the torrid heat of Spain. Just the right blend for passion and death. "A work of shocking immorality!" wrote one disgruntled critic after the world première. He was right – and there's nothing wrong with that. Bizet's masterwork continues to captivate. In French with German surtitles Karel Mark Chichon, Conductor Jonas Kaufmann, Tenor: Don José Ildebrando D'Arcangelo, Baritone: Escamillo Elīna Garanča, Mezzo-soprano: Carmen Genia Kühmeier, Soprano: Micaela Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Thursday 10-Jun-10 19:00 |
National Theatre, Munich Medea in Corinto |
Bavarian State Opera Ivor Bolton, Conductor Alastair Miles, Bass: Creonte Alek Shrader, Tenor: Egeo Nadja Michael, Soprano: Medea Ramón Vargas, Tenor: Giasone Elena Tsallagova, Soprano: Creusa Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Thursday 10-Jun-10 19:00 Bavarian State Opera The deed is incomprehensible to this day: because her husband Jason wants to leave her for Kreusa the daughter of the Corinthian King, the sorceress Medea totally loses all mental and physical control and murders her own children in a frantic act of inhuman vengeance. Since ancient times, the Medea story has been a topos of boundless maternal cruelty, in which love turns to violence, and the rules that bind humans together are abrogated. With her magical and demonic powers and her clairvoyant knowledge Medea is a character who sparks primal fears and thus deserves to be shut out of human society. With Medea in Corinto, arguably the most important Italian opera composer between Mozart and Rossini, Giovanni Simone Mayr, landed one of his biggest hits in Naples in 1813 – but actually this composer came from near Ingolstadt in Bavaria, transformed himself from Johann Simon to Giovanni Simone in his adopted country of Italy and also became one of the most significant composition teachers of his time. And the music for this downright impossible and unorthodox operatic character – after having been rarely performed for almost 200 years – has now slowly regained its rights, even if its story continues to be massively unsettling. Ivor Bolton, Conductor Alastair Miles, Bass: Creonte Alek Shrader, Tenor: Egeo Nadja Michael, Soprano: Medea Ramón Vargas, Tenor: Giasone Elena Tsallagova, Soprano: Creusa Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Saturday 12-Jun-10 19:00 |
National Theatre, Munich Carmen |
Bavarian State Opera Karel Mark Chichon, Conductor Jonas Kaufmann, Tenor: Don José Ildebrando D'Arcangelo, Baritone: Escamillo Elīna Garanča, Mezzo-soprano: Carmen Genia Kühmeier, Soprano: Micaela Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Saturday 12-Jun-10 19:00 Bavarian State Opera "Toréador, en garde!" Captivating rhythms, ravishing melodies. Two machos and a powerful woman: Carmen – plus all the torrid heat of Spain. Just the right blend for passion and death. "A work of shocking immorality!" wrote one disgruntled critic after the world première. He was right – and there's nothing wrong with that. Bizet's masterwork continues to captivate. In French with German surtitles Karel Mark Chichon, Conductor Jonas Kaufmann, Tenor: Don José Ildebrando D'Arcangelo, Baritone: Escamillo Elīna Garanča, Mezzo-soprano: Carmen Genia Kühmeier, Soprano: Micaela Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Sunday 13-Jun-10 18:00 |
National Theatre, Munich Medea in Corinto |
Bavarian State Opera Ivor Bolton, Conductor Alastair Miles, Bass: Creonte Alek Shrader, Tenor: Egeo Nadja Michael, Soprano: Medea Ramón Vargas, Tenor: Giasone Elena Tsallagova, Soprano: Creusa Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Sunday 13-Jun-10 18:00 Bavarian State Opera The deed is incomprehensible to this day: because her husband Jason wants to leave her for Kreusa the daughter of the Corinthian King, the sorceress Medea totally loses all mental and physical control and murders her own children in a frantic act of inhuman vengeance. Since ancient times, the Medea story has been a topos of boundless maternal cruelty, in which love turns to violence, and the rules that bind humans together are abrogated. With her magical and demonic powers and her clairvoyant knowledge Medea is a character who sparks primal fears and thus deserves to be shut out of human society. With Medea in Corinto, arguably the most important Italian opera composer between Mozart and Rossini, Giovanni Simone Mayr, landed one of his biggest hits in Naples in 1813 – but actually this composer came from near Ingolstadt in Bavaria, transformed himself from Johann Simon to Giovanni Simone in his adopted country of Italy and also became one of the most significant composition teachers of his time. And the music for this downright impossible and unorthodox operatic character – after having been rarely performed for almost 200 years – has now slowly regained its rights, even if its story continues to be massively unsettling. Ivor Bolton, Conductor Alastair Miles, Bass: Creonte Alek Shrader, Tenor: Egeo Nadja Michael, Soprano: Medea Ramón Vargas, Tenor: Giasone Elena Tsallagova, Soprano: Creusa Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Wednesday 16-Jun-10 19:00 |
National Theatre, Munich Medea in Corinto |
Bavarian State Opera Ivor Bolton, Conductor Alastair Miles, Bass: Creonte Alek Shrader, Tenor: Egeo Nadja Michael, Soprano: Medea Ramón Vargas, Tenor: Giasone Elena Tsallagova, Soprano: Creusa Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Wednesday 16-Jun-10 19:00 Bavarian State Opera The deed is incomprehensible to this day: because her husband Jason wants to leave her for Kreusa the daughter of the Corinthian King, the sorceress Medea totally loses all mental and physical control and murders her own children in a frantic act of inhuman vengeance. Since ancient times, the Medea story has been a topos of boundless maternal cruelty, in which love turns to violence, and the rules that bind humans together are abrogated. With her magical and demonic powers and her clairvoyant knowledge Medea is a character who sparks primal fears and thus deserves to be shut out of human society. With Medea in Corinto, arguably the most important Italian opera composer between Mozart and Rossini, Giovanni Simone Mayr, landed one of his biggest hits in Naples in 1813 – but actually this composer came from near Ingolstadt in Bavaria, transformed himself from Johann Simon to Giovanni Simone in his adopted country of Italy and also became one of the most significant composition teachers of his time. And the music for this downright impossible and unorthodox operatic character – after having been rarely performed for almost 200 years – has now slowly regained its rights, even if its story continues to be massively unsettling. Ivor Bolton, Conductor Alastair Miles, Bass: Creonte Alek Shrader, Tenor: Egeo Nadja Michael, Soprano: Medea Ramón Vargas, Tenor: Giasone Elena Tsallagova, Soprano: Creusa Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Sunday 20-Jun-10 19:00 |
National Theatre, Munich Medea in Corinto |
Bavarian State Opera Ivor Bolton, Conductor Alastair Miles, Bass: Creonte Alek Shrader, Tenor: Egeo Nadja Michael, Soprano: Medea Ramón Vargas, Tenor: Giasone Elena Tsallagova, Soprano: Creusa Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Sunday 20-Jun-10 19:00 Bavarian State Opera The deed is incomprehensible to this day: because her husband Jason wants to leave her for Kreusa the daughter of the Corinthian King, the sorceress Medea totally loses all mental and physical control and murders her own children in a frantic act of inhuman vengeance. Since ancient times, the Medea story has been a topos of boundless maternal cruelty, in which love turns to violence, and the rules that bind humans together are abrogated. With her magical and demonic powers and her clairvoyant knowledge Medea is a character who sparks primal fears and thus deserves to be shut out of human society. With Medea in Corinto, arguably the most important Italian opera composer between Mozart and Rossini, Giovanni Simone Mayr, landed one of his biggest hits in Naples in 1813 – but actually this composer came from near Ingolstadt in Bavaria, transformed himself from Johann Simon to Giovanni Simone in his adopted country of Italy and also became one of the most significant composition teachers of his time. And the music for this downright impossible and unorthodox operatic character – after having been rarely performed for almost 200 years – has now slowly regained its rights, even if its story continues to be massively unsettling. Ivor Bolton, Conductor Alastair Miles, Bass: Creonte Alek Shrader, Tenor: Egeo Nadja Michael, Soprano: Medea Ramón Vargas, Tenor: Giasone Elena Tsallagova, Soprano: Creusa Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Monday 28-Jun-10 19:00 |
National Theatre, Munich Tosca Munich Opera Festival |
Bavarian State Opera Fabio Luisi, Conductor Karita Mattila, Soprano: Floria Tosca Jonas Kaufmann, Tenor: Mario Cavaradossi Juha Uusitalo, Bass-baritone: Baron Scarpia Christian Van Horn, Bass: Cesare Angelotti Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Monday 28-Jun-10 19:00 Bavarian State Opera They are two artists in love: Mario Cavaradossi paints pictures for the Roman clergy but sympathizes with the “repubblica romana” and hides an escaped supporter of that republic in his garden. Floria Tosca makes glowing appearances as a singer at celebrations for opponents of the republic. But her love for Mario is the driving force of her life. He falls victim to the brutal cruelty of the state. Its enforcer, Baron Scarpia, may be driven by political zeal. In the case of Tosca and Mario, though, his motive is jealous lechery. To save Mario’s life, Tosca gives in to Scarpia’s extortive deal. According to legend, Verdi had wanted to set the sensationalistic French play by Victorien Sardou, with some borrowings from political history, to music, but considered himself too old for the task. Then Puccini couldn’t resist the temptation to take Tosca as an opera plot. He created a music drama all’italiana, a veritable drama of voices and orchestra, which places the inner motivations and acts of the pragmatists, their hopeless entanglements in the machinery of subjugation in stark contrast to the musical naturalism of banal everyday life all around them. Above it all, however, stand the beauty, power and loneliness of the voice, her voice, the voice of Tosca. In Italian with German surtitles New production In cooperation with the Metropolitan Opera, New York Fabio Luisi, Conductor Karita Mattila, Soprano: Floria Tosca Jonas Kaufmann, Tenor: Mario Cavaradossi Juha Uusitalo, Bass-baritone: Baron Scarpia Christian Van Horn, Bass: Cesare Angelotti Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Tuesday 29-Jun-10 19:00 |
National Theatre, Munich Medea in Corinto Munich Opera Festival |
Bavarian State Opera Ivor Bolton, Conductor Alastair Miles, Bass: Creonte Alek Shrader, Tenor: Egeo Nadja Michael, Soprano: Medea Ramón Vargas, Tenor: Giasone Elena Tsallagova, Soprano: Creusa Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Tuesday 29-Jun-10 19:00 Bavarian State Opera The deed is incomprehensible to this day: because her husband Jason wants to leave her for Kreusa the daughter of the Corinthian King, the sorceress Medea totally loses all mental and physical control and murders her own children in a frantic act of inhuman vengeance. Since ancient times, the Medea story has been a topos of boundless maternal cruelty, in which love turns to violence, and the rules that bind humans together are abrogated. With her magical and demonic powers and her clairvoyant knowledge Medea is a character who sparks primal fears and thus deserves to be shut out of human society. With Medea in Corinto, arguably the most important Italian opera composer between Mozart and Rossini, Giovanni Simone Mayr, landed one of his biggest hits in Naples in 1813 – but actually this composer came from near Ingolstadt in Bavaria, transformed himself from Johann Simon to Giovanni Simone in his adopted country of Italy and also became one of the most significant composition teachers of his time. And the music for this downright impossible and unorthodox operatic character – after having been rarely performed for almost 200 years – has now slowly regained its rights, even if its story continues to be massively unsettling. Ivor Bolton, Conductor Alastair Miles, Bass: Creonte Alek Shrader, Tenor: Egeo Nadja Michael, Soprano: Medea Ramón Vargas, Tenor: Giasone Elena Tsallagova, Soprano: Creusa Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Wednesday 30-Jun-10 19:00 |
National Theatre, Munich Roberto Devereux Munich Opera Festival |
Bavarian State Opera Friedrich Haider, Conductor Christof Loy, Director Edita Gruberová, Soprano: Elisabetta Paola Gavanelli, Baritone: Duca di Nottingham Sonia Ganassi, Mezzo-soprano: Sara, Duchessa di Nottingham José Bros, Tenor: Robert Devereux Francesco Petrozzi, Tenor: Lord Cecil Steven Humes, Bass: Sir Gualtiero Raleigh Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Wednesday 30-Jun-10 19:00 Roberto Devereux Bavarian State Opera London, 1601: love, lust and a death sentence at the English royal court - that's just the mix for great Italian opera. Roberto Devereux - an opera for a sovereign, a work for Edita Gruberová! The prima donna assoluta of bel canto triumphs in this drama. Either an opera house can acquire the services of "la Gruberová" - or they can forget putting on this opera. In Italian with German surtitles Friedrich Haider, Conductor Christof Loy, Director Edita Gruberová, Soprano: Elisabetta Paola Gavanelli, Baritone: Duca di Nottingham Sonia Ganassi, Mezzo-soprano: Sara, Duchessa di Nottingham José Bros, Tenor: Robert Devereux Francesco Petrozzi, Tenor: Lord Cecil Steven Humes, Bass: Sir Gualtiero Raleigh Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Friday 2-Jul-10 19:00 |
National Theatre, Munich Tosca Munich Opera Festival |
Bavarian State Opera Fabio Luisi, Conductor Karita Mattila, Soprano: Floria Tosca Jonas Kaufmann, Tenor: Mario Cavaradossi Juha Uusitalo, Bass-baritone: Baron Scarpia Christian Van Horn, Bass: Cesare Angelotti Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Friday 2-Jul-10 19:00 Bavarian State Opera They are two artists in love: Mario Cavaradossi paints pictures for the Roman clergy but sympathizes with the “repubblica romana” and hides an escaped supporter of that republic in his garden. Floria Tosca makes glowing appearances as a singer at celebrations for opponents of the republic. But her love for Mario is the driving force of her life. He falls victim to the brutal cruelty of the state. Its enforcer, Baron Scarpia, may be driven by political zeal. In the case of Tosca and Mario, though, his motive is jealous lechery. To save Mario’s life, Tosca gives in to Scarpia’s extortive deal. According to legend, Verdi had wanted to set the sensationalistic French play by Victorien Sardou, with some borrowings from political history, to music, but considered himself too old for the task. Then Puccini couldn’t resist the temptation to take Tosca as an opera plot. He created a music drama all’italiana, a veritable drama of voices and orchestra, which places the inner motivations and acts of the pragmatists, their hopeless entanglements in the machinery of subjugation in stark contrast to the musical naturalism of banal everyday life all around them. Above it all, however, stand the beauty, power and loneliness of the voice, her voice, the voice of Tosca. In Italian with German surtitles New production In cooperation with the Metropolitan Opera, New York Fabio Luisi, Conductor Karita Mattila, Soprano: Floria Tosca Jonas Kaufmann, Tenor: Mario Cavaradossi Juha Uusitalo, Bass-baritone: Baron Scarpia Christian Van Horn, Bass: Cesare Angelotti Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Saturday 3-Jul-10 19:00 |
National Theatre, Munich Don Giovanni Munich Opera Festival |
Bavarian State Opera Kent Nagano, Conductor Mariusz Kwiecien, Baritone: Don Giovanni Phillip Ens, Bass: The Commendatore Anja Harteros, Soprano: Donna Anna Pavol Breslik, Tenor: Don Ottavio Maija Kovalevska, Soprano: Donna Elvira Alex Esposito, Baritone: Leporello Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Saturday 3-Jul-10 19:00 Bavarian State Opera Don Giovanni – stylized by both his contemporaries and posterity in every nuance between admiration and condemnation: as a sensuous debaucher, an unfeeling cynic, a death-dealing demon, an egotist impelled by his urges, a sad angel or the proud embodiment of human self-realization. This barely comprehensible hero plays with everyone around him and acts in accordance with just one rule: long live liberty! He seduces countless women, whose lives afterwards are never the same as they were before. He murders the father of one of his conquests, when the older man gets in his way: the painful collateral damage of a compulsive quest for whatever might promise vitality? Three women and two men join forces to pursue this man, who may have released different impulses in each one of them: thirst for vengeance, desire, curiosity for the unknown, the lust for subjugation or the altruistic desire to redeem him. The closer they get to him, the more his contours dissipate. The desire to unmask him becomes an obsession to punish and destroy him. This is finally carried out by a higher power, so that his pursuers keep running into one another. Lorenzo da Ponte converted the morality play about a “punished dissolute” into a libretto for Wolfgang Amadeus Mozart. It was his music that gave the work a Janus-like countenance: a psychologically fine-tuned drama and concurrently a theatrical work that sets the final machinery of hell in motion. A dramma giocoso – a comical drama – and yet, first and foremost, a nocturnal play, in which the lust for life and the joy of life have to erupt, because death, solitude and emptiness wait on the other side. In Italian with German surtitles Kent Nagano, Conductor Mariusz Kwiecien, Baritone: Don Giovanni Phillip Ens, Bass: The Commendatore Anja Harteros, Soprano: Donna Anna Pavol Breslik, Tenor: Don Ottavio Maija Kovalevska, Soprano: Donna Elvira Alex Esposito, Baritone: Leporello Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Sunday 4-Jul-10 19:00 |
National Theatre, Munich Roberto Devereux Munich Opera Festival |
Bavarian State Opera Friedrich Haider, Conductor Christof Loy, Director Edita Gruberová, Soprano: Elisabetta Paola Gavanelli, Baritone: Duca di Nottingham Sonia Ganassi, Mezzo-soprano: Sara, Duchessa di Nottingham José Bros, Tenor: Robert Devereux Francesco Petrozzi, Tenor: Lord Cecil Steven Humes, Bass: Sir Gualtiero Raleigh Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Sunday 4-Jul-10 19:00 Roberto Devereux Bavarian State Opera London, 1601: love, lust and a death sentence at the English royal court - that's just the mix for great Italian opera. Roberto Devereux - an opera for a sovereign, a work for Edita Gruberová! The prima donna assoluta of bel canto triumphs in this drama. Either an opera house can acquire the services of "la Gruberová" - or they can forget putting on this opera. In Italian with German surtitles Friedrich Haider, Conductor Christof Loy, Director Edita Gruberová, Soprano: Elisabetta Paola Gavanelli, Baritone: Duca di Nottingham Sonia Ganassi, Mezzo-soprano: Sara, Duchessa di Nottingham José Bros, Tenor: Robert Devereux Francesco Petrozzi, Tenor: Lord Cecil Steven Humes, Bass: Sir Gualtiero Raleigh Bavarian State Opera Chorus Bavarian State Orchestra | ||
| Tuesday 6-Jul-10 19:00 |
National Theatre, Munich Don Giovanni Munich Opera Festival |
Bavarian State Opera Kent Nagano, Conductor Mariusz Kwiecien, Baritone: Don Giovanni Phillip Ens, Bass: The Commendatore Anja Harteros, Soprano: Donna Anna Pavol Breslik, Tenor: Don Ottavio Maija Kovalevska, Soprano: Donna Elvira Alex Esposito, Baritone: Leporello Bavarian State Opera Chorus Bavarian State Orchestra |
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| National Theatre, Munich, Germany Tuesday 6-Jul-10 19:00 Bavarian State Opera Don Giovanni – stylized by both his contemporaries and posterity in every nuance between admiration and condemnation: as a sensuous debaucher, an unfeeling cynic, a death-dealing demon, an egotist impelled by his urges, a sad angel or the proud embodiment of human self-realization. This barely comprehensible hero plays with everyone around him and acts in accordance with just one rule: long live liberty! He seduces countless women, whose lives afterwards are never the same as they were before. He murders the father of one of his conquests, when the older man gets in his way: the painful collateral damage of a compulsive quest for whatever might promise vitality? Three women and two men join forces to pursue this man, who may have released different impulses in each one of them: thirst for vengeance, desire, curiosity for the unknown, the lust for subjugation or the altruistic desire to redeem him. The closer they get to him, the more his contours dissipate. The desire to unmask him becomes an obsession to punish and destroy him. This is finally carried out by a higher power, so that his pursuers keep running into one another. Lorenzo da Ponte converted the morality play about a “punished dissolute” into a libretto for Wolfgang Amadeus Mozart. It was his music that gave the work a Janus-like countenance: a psychologically fine-tuned drama and concurrently a theatrical work that sets the final machinery of hell in motion. A dramma giocoso – a comical drama – and yet, first and foremost, a nocturnal play, in which the lust for life and the joy of life have to erupt, because death, solitude and emptiness wait on the other side. In Italian with German surtitles Kent Nagano, Conductor Mariusz Kwiecien, Baritone: Don Giovanni Phillip Ens, Bass: The Commendatore Anja Harteros, Soprano: Donna Anna Pavol Breslik, Tenor: Don Ottavio Maija Kovalevska, Soprano: Donna Elvira Alex Esposito, Baritone: Leporello Bavarian State Opera Chorus Bavarian State Orchestra | ||
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