Company: Bavarian State OperaFrom today| Date | Event | Composers, Works, Performers |
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| Friday 28-Jun-13 07:00pm |
 National Theatre, MunichDer fliegende Holländer Munich Opera Festival |
Bavarian State Opera Asher Fisch, Conductor Peter Konwitschny, Director Rafal Siwek, Bass: Daland Anja Kampe, Soprano: Senta Klaus Florian Vogt, Tenor: Erik Heike Grötzinger, Mezzo-soprano: Mary Kevin Conners, Tenor: The Steersman Johan Reuter, Baritone: Dutchman |
W.Hösl.jpg "Image credit: Wilfried Hösl") | ||
| National Theatre, Munich, Munich, Germany Friday 28-Jun-13 07:00pm Every seven years the Dutchman is allowed back on land. There this tepest-tossed creature can only be redeemed by a woman, Otherwise his endless odyssey continues. Will Senta be that woman? After all, she longs to break free from the confining world of her father. All he ever thinks about is money. Isn't the wealthy Dutchman just what the doctor ordered? Wagner's gripping early work: a psycho-thriller of operatic literature. Peter Konwitschny has already provoked audiences to delight and disgust with his spectacular Parsifal and Tristan und Isolde productions. This Munich Holländer is something you just "have" to see. A sea and see journey on the waves of the orchestra.
In German with German surtitles.Image credit: Wilfried Hösl Asher Fisch, Conductor Peter Konwitschny, Director Rafal Siwek, Bass: Daland Anja Kampe, Soprano: Senta Klaus Florian Vogt, Tenor: Erik Heike Grötzinger, Mezzo-soprano: Mary Kevin Conners, Tenor: The Steersman Johan Reuter, Baritone: Dutchman | ||
| Saturday 29-Jun-13 06:00pm |
National Theatre, Munich Tannhäuser Munich Opera Festival |
Bavarian State Opera Kent Nagano, Conductor David Alden, Director Christof Fischesser, Bass: Landgraf Hermann Robert Dean Smith, Tenor: Tannhäuser Matthias Goerne, Baritone: Wolfram von Eschenbach Ulrich Ress, Tenor: Walther von der Vogelweide Goran Juric, Bass: Biterolf Kenneth Roberson, Tenor: Heinrich der Schreiber Christoph Stephinger, Bass: Reinmar von Zweter Anne Schwanewilms, Soprano: Elisabeth Waltraud Meier, Mezzo-soprano: Venus |
W.Hösl.jpg "Image credit: Wilfried Hösl") | ||
| National Theatre, Munich, Munich, Germany Saturday 29-Jun-13 06:00pm What does a man want? Love or lust? Answer: both! Tannhäuser has feasted on lust in the realm of Venus. But his excesses are anything but compatible with the strait-laced morality of the society in which he competes in song for Elisabeth's love. That precipitates an uproar …Tannhäuser: artist, outcast – the destiny of an outsider set against the intoxicating power of music at its highest erotic level. A Wagnerian banquet.In German.Image credit: Wilfried Hösl Kent Nagano, Conductor David Alden, Director Christof Fischesser, Bass: Landgraf Hermann Robert Dean Smith, Tenor: Tannhäuser Matthias Goerne, Baritone: Wolfram von Eschenbach Ulrich Ress, Tenor: Walther von der Vogelweide Goran Juric, Bass: Biterolf Kenneth Roberson, Tenor: Heinrich der Schreiber Christoph Stephinger, Bass: Reinmar von Zweter Anne Schwanewilms, Soprano: Elisabeth Waltraud Meier, Mezzo-soprano: Venus | ||
| Wednesday 3-Jul-13 06:00pm |
National Theatre, Munich Lohengrin Munich Opera Festival |
Bavarian State Opera Lothar Koenigs, Conductor Richard Jones, Director Hans-Peter König, Bass: Heinrich der Vogler Klaus Florian Vogt, Tenor: Lohengrin Annette Dasch, Soprano: Elsa von Brabant Yevgeny Nikitin, Bass-baritone: Friedrich von Telramund Michaela Schuster, Mezzo-soprano: Ortrud Markus Eiche, Baritone: The King's Herald |
W.Hösl.jpg "Image credit: Wilfried Hösl") | ||
| National Theatre, Munich, Munich, Germany Wednesday 3-Jul-13 06:00pm The Duchy of Brabant in the throes of a dynastic conflict: the succession seems put into question following the disappearance of the crown prince. And: his sister is accused of the crime. The whole realm faces the threat of a civil war. There is great longing for the appearance of a shining knight to rescue the damsel in distress. And then, in this time of uncertainty, a hero really does appear – as if from another world: but who is this grand knight of the swan who presents himself as the rescuer of Else and all of Brabant? What is the nature of the ties that bind him to Eva, so unjustly accused of fratricide? In a time of great revolutionary upheaval in the middle of the 19th century, Wagner wrote his “Lohengrin”, in which for the first time the orchestra emerges as a mysterious factor as well as the engine driving the action of the entire drama.
In German with German surtitles.Image credit: Wilfried Hösl Lothar Koenigs, Conductor Richard Jones, Director Hans-Peter König, Bass: Heinrich der Vogler Klaus Florian Vogt, Tenor: Lohengrin Annette Dasch, Soprano: Elsa von Brabant Yevgeny Nikitin, Bass-baritone: Friedrich von Telramund Michaela Schuster, Mezzo-soprano: Ortrud Markus Eiche, Baritone: The King's Herald | ||
| Thursday 4-Jul-13 07:30pm |
National Theatre, Munich Ariadne auf Naxos Munich Opera Festival |
Bavarian State Opera Bertrand de Billy, Conductor Marco Santi, Choreography Robert Carsen, Director Johannes Klama, Spoken word: The Major-Domo Eike Wilm Schulte, Baritone: Music Master Burkhard Fritz, Tenor: Bacchus Eva-Maria Westbroek, Soprano: Primadonna (Ariadne) Sophie Koch, Mezzo-soprano: Composer Jane Archibald, Soprano: Zerbinetta Markus Eiche, Baritone: Harlequin Ulrich Ress, Tenor: Scaramuccio Tareq Nazmi, Bass: Truffaldino Thomas Blondelle, Tenor: Dancing Master Kevin Conners, Tenor: Brighella |
 W.Hösl.jpg "Image credit: Wilfried Hösl") | ||
| National Theatre, Munich, Munich, Germany Thursday 4-Jul-13 07:30pm Is it possible to perform the comic intermezzo “Zerbinetta and her Lovers” and the tragic opera “Ariadne” at the same time? Yes, when you have to. The richest man in Vienna wants it that way. He wants cross-over! Let’s mix up classic and pop – and it works. To the delight of the audience and the recognition of the characters on stage.
One of the handsomest and wisest works of the great Munich composer, Richard Strauss, in a production by Robert Carsen. The joy of Strauss!
Sung in German with German surtitlesImage credit: Wilfried Hösl Bertrand de Billy, Conductor Marco Santi, Choreography Robert Carsen, Director Johannes Klama, Spoken word: The Major-Domo Eike Wilm Schulte, Baritone: Music Master Burkhard Fritz, Tenor: Bacchus Eva-Maria Westbroek, Soprano: Primadonna (Ariadne) Sophie Koch, Mezzo-soprano: Composer Jane Archibald, Soprano: Zerbinetta Markus Eiche, Baritone: Harlequin Ulrich Ress, Tenor: Scaramuccio Tareq Nazmi, Bass: Truffaldino Thomas Blondelle, Tenor: Dancing Master Kevin Conners, Tenor: Brighella | ||
| Saturday 6-Jul-13 07:00pm |
National Theatre, Munich Falstaff Munich Opera Festival |
Bavarian State Opera Paolo Carignani, Conductor Eike Gramss, Director Nico Trees, Revival Director Ambrogio Maestri, Baritone: Sir John Falstaff Levente Molnár, Baritone: Ford Javier Camarena, Tenor: Fenton Ulrich Ress, Tenor: Dr Caius Kenneth Roberson, Tenor: Bardolph Diogenes Randes, Bass: Pistol Véronique Gens, Soprano: Alice Ford Adriana Kučerová, Soprano: Nannetta Ewa Podleś, Contralto: Mistress Quickly Angela Brower, Mezzo-soprano: Meg Page |
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| National Theatre, Munich, Munich, Germany Saturday 6-Jul-13 07:00pm Verdi's final opera – a grandiose comedy: the roly-poly roué Sir John writes the same love letter to two different women. Logically, this leads to plenty of turbulence on the stage. This jolly work of Verdi's old age reaches its high point in the recognition: "Everything on earth is a joke!" Ambrogio Maestri as Falstaff! A subtle production. Oh, Verdi lover, what more could you ask?
In Italian with German surtitles.Paolo Carignani, Conductor Eike Gramss, Director Nico Trees, Revival Director Ambrogio Maestri, Baritone: Sir John Falstaff Levente Molnár, Baritone: Ford Javier Camarena, Tenor: Fenton Ulrich Ress, Tenor: Dr Caius Kenneth Roberson, Tenor: Bardolph Diogenes Randes, Bass: Pistol Véronique Gens, Soprano: Alice Ford Adriana Kučerová, Soprano: Nannetta Ewa Podleś, Contralto: Mistress Quickly Angela Brower, Mezzo-soprano: Meg Page | ||
| Sunday 7-Jul-13 07:30pm |
Prinzregententheater, Munich Ariadne auf Naxos Munich Opera Festival |
Bavarian State Opera Bertrand de Billy, Conductor Marco Santi, Choreography Robert Carsen, Director Johannes Klama, Spoken word: The Major-Domo Eike Wilm Schulte, Baritone: Music Master Burkhard Fritz, Tenor: Bacchus Eva-Maria Westbroek, Soprano: Primadonna (Ariadne) Sophie Koch, Mezzo-soprano: Composer Jane Archibald, Soprano: Zerbinetta Markus Eiche, Baritone: Harlequin Ulrich Ress, Tenor: Scaramuccio Tareq Nazmi, Bass: Truffaldino Thomas Blondelle, Tenor: Dancing Master Kevin Conners, Tenor: Brighella |
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| Prinzregententheater, Munich, 81675 Munich, Germany Sunday 7-Jul-13 07:30pm Is it possible to perform the comic intermezzo “Zerbinetta and her Lovers” and the tragic opera “Ariadne” at the same time? Yes, when you have to. The richest man in Vienna wants it that way. He wants cross-over! Let’s mix up classic and pop – and it works. To the delight of the audience and the recognition of the characters on stage.
One of the handsomest and wisest works of the great Munich composer, Richard Strauss, in a production by Robert Carsen. The joy of Strauss!
Sung in German with German surtitlesImage credit: Wilfried Hösl Bertrand de Billy, Conductor Marco Santi, Choreography Robert Carsen, Director Johannes Klama, Spoken word: The Major-Domo Eike Wilm Schulte, Baritone: Music Master Burkhard Fritz, Tenor: Bacchus Eva-Maria Westbroek, Soprano: Primadonna (Ariadne) Sophie Koch, Mezzo-soprano: Composer Jane Archibald, Soprano: Zerbinetta Markus Eiche, Baritone: Harlequin Ulrich Ress, Tenor: Scaramuccio Tareq Nazmi, Bass: Truffaldino Thomas Blondelle, Tenor: Dancing Master Kevin Conners, Tenor: Brighella | ||
| Tuesday 9-Jul-13 07:00pm |
National Theatre, Munich La Traviata Munich Opera Festival |
Bavarian State Opera Dan Ettinger, Conductor Günter Krämer, Director Marina Rebeka, Soprano: Violetta Valéry Heike Grötzinger, Mezzo-soprano: Flora Bervoix Piotr Beczala, Tenor: Alfredo Germont Simon Keenlyside, Baritone: Giorgio Germont |
W.Hösl.jpg "Image credit: Wilfried Hösl") | ||
| National Theatre, Munich, Munich, Germany Tuesday 9-Jul-13 07:00pm Men don't fall in love with courtesans! That's the opinion of Alfredo's father after his son moves in with the mortally ill Violetta Valéry. In her love for Alfredo Violetta even agrees. She leaves him, dies poor, ill – still dreaming of the happiness of true love. One of Verdi's most beloved operas continues to hold the mirror up to society and its hypocritical morality. An exemplary production! See it!
In Italian with German surtitles.Image credit: Wilfried Hösl Dan Ettinger, Conductor Günter Krämer, Director Marina Rebeka, Soprano: Violetta Valéry Heike Grötzinger, Mezzo-soprano: Flora Bervoix Piotr Beczala, Tenor: Alfredo Germont Simon Keenlyside, Baritone: Giorgio Germont | ||
| Wednesday 10-Jul-13 07:30pm |
National Theatre, Munich Ariadne auf Naxos Munich Opera Festival |
Bavarian State Opera Bertrand de Billy, Conductor Marco Santi, Choreography Robert Carsen, Director Johannes Klama, Spoken word: The Major-Domo Eike Wilm Schulte, Baritone: Music Master Burkhard Fritz, Tenor: Bacchus Eva-Maria Westbroek, Soprano: Primadonna (Ariadne) Sophie Koch, Mezzo-soprano: Composer Jane Archibald, Soprano: Zerbinetta Markus Eiche, Baritone: Harlequin Ulrich Ress, Tenor: Scaramuccio Tareq Nazmi, Bass: Truffaldino Thomas Blondelle, Tenor: Dancing Master Kevin Conners, Tenor: Brighella |
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| National Theatre, Munich, Munich, Germany Wednesday 10-Jul-13 07:30pm Is it possible to perform the comic intermezzo “Zerbinetta and her Lovers” and the tragic opera “Ariadne” at the same time? Yes, when you have to. The richest man in Vienna wants it that way. He wants cross-over! Let’s mix up classic and pop – and it works. To the delight of the audience and the recognition of the characters on stage.
One of the handsomest and wisest works of the great Munich composer, Richard Strauss, in a production by Robert Carsen. The joy of Strauss!
Sung in German with German surtitlesImage credit: Wilfried Hösl Bertrand de Billy, Conductor Marco Santi, Choreography Robert Carsen, Director Johannes Klama, Spoken word: The Major-Domo Eike Wilm Schulte, Baritone: Music Master Burkhard Fritz, Tenor: Bacchus Eva-Maria Westbroek, Soprano: Primadonna (Ariadne) Sophie Koch, Mezzo-soprano: Composer Jane Archibald, Soprano: Zerbinetta Markus Eiche, Baritone: Harlequin Ulrich Ress, Tenor: Scaramuccio Tareq Nazmi, Bass: Truffaldino Thomas Blondelle, Tenor: Dancing Master Kevin Conners, Tenor: Brighella | ||
| Thursday 11-Jul-13 04:00pm |
National Theatre, Munich Tristan und Isolde Munich Opera Festival |
Bavarian State Opera Kent Nagano, Conductor Peter Konwitschny, Director Gary Lehman, Tenor: Tristan René Pape, Bass: King Marke Petra Maria Schnitzer, Soprano: Isolde Markus Eiche, Baritone: Kurwenal Francesco Petrozzi, Tenor: Melot Edita Gruberová, Mezzo-soprano: Brangäne |
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| National Theatre, Munich, Munich, Germany Thursday 11-Jul-13 04:00pm Tristan und Isolde The most beautiful of all Wagner operas. Musical high erotic flair: two people, who still have a score to settle with one another, drink a love potion instead of poison. They are caught in flagrante, following which there is longing to the point of love-death. Careful: there's an addiction hazard here even for non-Wagnerians. "Drown – sink down!" Tristan in Munich's National Theatre, the site of its world première. The grand musical experience.
In German.Kent Nagano, Conductor Peter Konwitschny, Director Gary Lehman, Tenor: Tristan René Pape, Bass: King Marke Petra Maria Schnitzer, Soprano: Isolde Markus Eiche, Baritone: Kurwenal Francesco Petrozzi, Tenor: Melot Edita Gruberová, Mezzo-soprano: Brangäne | ||
| Friday 12-Jul-13 07:00pm |
National Theatre, Munich Simon Boccanegra Munich Opera Festival |
Bavarian State Opera Bertrand de Billy, Conductor Dmitri Tcherniakov, Director Željko Lučić, Baritone: Simon Boccanegra Krassimira Stoyanova, Soprano: Amelia Grimaldi Vitalij Kowaljow, Bass: Jacopo Fiesco Ramón Vargas, Tenor: Gabriele Adorno Levente Molnár, Baritone: Paolo Albiani |
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| National Theatre, Munich, Munich, Germany Friday 12-Jul-13 07:00pm In Italian with German surtitles.Bertrand de Billy, Conductor Dmitri Tcherniakov, Director Željko Lučić, Baritone: Simon Boccanegra Krassimira Stoyanova, Soprano: Amelia Grimaldi Vitalij Kowaljow, Bass: Jacopo Fiesco Ramón Vargas, Tenor: Gabriele Adorno Levente Molnár, Baritone: Paolo Albiani | ||
| Saturday 13-Jul-13 08:00pm |
National Theatre, Munich Das Rheingold Munich Opera Festival |
Bavarian State Opera Kent Nagano, Conductor Andreas Kriegenburg, Director Johan Reuter, Bass-baritone: Wotan Levente Molnár, Baritone: Donner Sergei Skorokhodov, Tenor: Froh Štefan Margita, Tenor: Loge Tomasz Konieczny, Bass: Alberich Ulrich Ress, Tenor: Mime Diogenes Randes, Bass: Fasolt Steven Humes, Bass: Fafner Aga Mikolaj, Soprano: Freia Sophie Koch, Mezzo-soprano: Fricka Catherine Wyn-Rogers, Mezzo-soprano: Erda Eri Nakamura, Soprano: Woglinde Angela Brower, Mezzo-soprano: Wellgunde Okka von der Damerau, Mezzo-soprano: Flosshilde |
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| National Theatre, Munich, Munich, Germany Saturday 13-Jul-13 08:00pm Eve of "Der Ring des Nibelungen"
The unsullied enchantment of E-flat major harmonies in the initial bars of Das Rheingold doesn’t last very long. Instead, a world comes into being; a world that fifteen hours of music later will be unable to stave off its own downfall. In this world, nature is violated, and laws are ignored. Greed, power and malediction are the order of the day. Alberich steals the gold from the Rhine Maidens, enslaves his workers and revels in the sweet smell of world domination. Wotan claims it for himself and joins forces with Loge to make off with the ring, the gold and the magic helmet. His construction project is envisioned as the foundation of existence for his family of gods – his wife objects. He must part with the accursed ring as payment to the two giants. Seething with envy, one giant murders the other. The glow of the gods’ castle first gleams after the tempest, but Loge sees the castle already headed for ruin. The threads of the tale get tangled in this eve of the tetralogy, the water loses its sheen, and the clouds are shrouded in darkness.
New production.
In German with German surtitlesKent Nagano, Conductor Andreas Kriegenburg, Director Johan Reuter, Bass-baritone: Wotan Levente Molnár, Baritone: Donner Sergei Skorokhodov, Tenor: Froh Štefan Margita, Tenor: Loge Tomasz Konieczny, Bass: Alberich Ulrich Ress, Tenor: Mime Diogenes Randes, Bass: Fasolt Steven Humes, Bass: Fafner Aga Mikolaj, Soprano: Freia Sophie Koch, Mezzo-soprano: Fricka Catherine Wyn-Rogers, Mezzo-soprano: Erda Eri Nakamura, Soprano: Woglinde Angela Brower, Mezzo-soprano: Wellgunde Okka von der Damerau, Mezzo-soprano: Flosshilde | ||
| Sunday 14-Jul-13 05:00pm |
National Theatre, Munich Die Walküre Munich Opera Festival |
Bavarian State Opera Kent Nagano, Conductor Andreas Kriegenburg, Director Simon O'Neill, Tenor: Siegmund Hans-Peter König, Bass: Hunding Bryn Terfel, Baritone: Wotan Petra Lang, Mezzo-soprano: Sieglinde Sophie Koch, Mezzo-soprano: Fricka Erika Wueschner, Soprano: Helmwige Roswitha C Müller, Mezzo-soprano: Siegrune Okka von der Damerau, Mezzo-soprano: Grimgerde Katarina Dalayman, Soprano: Brünnhilde Heike Grötzinger, Mezzo-soprano: Waltraute |
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| National Theatre, Munich, Munich, Germany Sunday 14-Jul-13 05:00pm First Day of "Der Ring des Nibelungen"
The clash of the clans nourishes the battlefield. The Valkyries, the children of the god, are just instruments of the father to gather together an army of the dead for him.
Wotan’s progeny are to secure his power: the twins, Siegmund and Sieglinde, seem born to this task. The brother lands at the home of his enemy – finds his sister there after a separation of many years and wins her heart. All of this runs according to plan, and yet the two siblings have violated the laws. The father must sacrifice his son. Brünnhilde, his favorite daughter, defies her father for the first time and protects the incestuous couple – in vain.
On the first day of Der Ring des Nibelungen, in Die Walküre, first performed in 1870 in Munich, the father-god’s plans to undo the entanglements come to naught. At the end, his children are either murdered or punished and exiled. All Wotan can do is wait for the hero of the next generation – Sieglinde now carries him in her womb, the seed of her brother, somewhere on her flight through the forest.
New production.
In German with German surtitlesKent Nagano, Conductor Andreas Kriegenburg, Director Simon O'Neill, Tenor: Siegmund Hans-Peter König, Bass: Hunding Bryn Terfel, Baritone: Wotan Petra Lang, Mezzo-soprano: Sieglinde Sophie Koch, Mezzo-soprano: Fricka Erika Wueschner, Soprano: Helmwige Roswitha C Müller, Mezzo-soprano: Siegrune Okka von der Damerau, Mezzo-soprano: Grimgerde Katarina Dalayman, Soprano: Brünnhilde Heike Grötzinger, Mezzo-soprano: Waltraute | ||
| Monday 15-Jul-13 04:00pm |
National Theatre, Munich Siegfried Munich Opera Festival |
Bavarian State Opera Kent Nagano, Conductor Andreas Kriegenburg, Director Stephen Gould, Tenor: Siegfried Wolfgang Ablinger-Sperrhacke, Tenor: Mime Juha Uusitalo, Bass-baritone: Wanderer Phillip Ens, Bass: Fafner Qiu Lin Zhang, Contralto: Erda Catherine Naglestad, Soprano: Brünnhilde Anna Virovlansky, Soprano: Waldvogel (the woodbird) |
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| National Theatre, Munich, Munich, Germany Monday 15-Jul-13 04:00pm Second Day of "Der Ring des Nibelungen"
Only an individual without fear can turn Mime’s dream into reality, forge the shattered sword anew, slay Fafner the dragon, snatch the ring away from him and walk straight into Mime’s knife – and all the power will be Mime’s. But he himself is too frightened of the Wanderer, in whose puzzle game he loses his head, of the dragon, whom he wants his foster son to slay, of his brother, whom he meets in the forest, and of the fearless Siegfried, who thanks to a message from a prophetic bird helps himself to the ring and slaughters Mime.
But Wotan’s plan for a free hero also comes to naught: Siegfried smashes his spear with the sword and stands fearlessly before Brünnhilde. The sight of her body sets him atremble, and he finally learns the true meaning of fear. In the glow of the sun, the two discover their love.
Mountain cave. Forest. Wilderness. Mountain peak. The second day of the work belongs to nature. But the guise of the harmless, nature-loving Wanderer fails to protect the father of the gods from his curse.
New production.
In German with German surtitlesKent Nagano, Conductor Andreas Kriegenburg, Director Stephen Gould, Tenor: Siegfried Wolfgang Ablinger-Sperrhacke, Tenor: Mime Juha Uusitalo, Bass-baritone: Wanderer Phillip Ens, Bass: Fafner Qiu Lin Zhang, Contralto: Erda Catherine Naglestad, Soprano: Brünnhilde Anna Virovlansky, Soprano: Waldvogel (the woodbird) | ||
| Tuesday 16-Jul-13 07:00pm |
National Theatre, Munich Otello Munich Opera Festival |
Bavarian State Opera Paolo Carignani, Conductor Francesca Zambello, Director Alphonse Poulin, Choreography Johan Botha, Tenor: Otello Claudio Sgura, Baritone: Iago Pavol Breslik, Tenor: Cassio Francesco Petrozzi, Tenor: Roderigo Diogenes Randes, Bass: Lodovico Goran Juric, Bass: Montano Anja Harteros, Soprano: Desdemona |
W.Hösl.jpg "Image credit: Wilfried Hösl") | ||
| National Theatre, Munich, Munich, Germany Tuesday 16-Jul-13 07:00pm Three characters – a lethal drama! Jago's vanity: offended. Otello's emotions: unrestrained. Desdemona's love: helpless. Plus a handkerchief as corpus dilecti. Never did Verdi compose revenge, intrigue and jealousy with more fiery, diabolical music as he provides in this opera written toward the end of his long career. A fascinating murder mystery!
In Italian with German surtitlesImage credit: Wilfried Hösl Paolo Carignani, Conductor Francesca Zambello, Director Alphonse Poulin, Choreography Johan Botha, Tenor: Otello Claudio Sgura, Baritone: Iago Pavol Breslik, Tenor: Cassio Francesco Petrozzi, Tenor: Roderigo Diogenes Randes, Bass: Lodovico Goran Juric, Bass: Montano Anja Harteros, Soprano: Desdemona | ||
| Wednesday 17-Jul-13 07:00pm |
National Theatre, Munich Rigoletto Munich Opera Festival |
Bavarian State Opera Fabio Luisi, Conductor Árpád Schilling, Director Joseph Calleja, Tenor: The Duke of Mantua Franco Vassallo, Baritone: Rigoletto Patricia Petibon, Soprano: Gilda Dimitry Ivashchenko, Bass: Sparafucile Nadia Krasteva, Mezzo-soprano: Maddalena |
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| National Theatre, Munich, Munich, Germany Wednesday 17-Jul-13 07:00pm The first performance of the first opera in Verdi's legendary "trilogia popolare" at the Teatro La Fenice in Venice was preceded by a tricky battle with the censor. After all, the play by Victor Hugo on which it was based, about the cynical hedonism of an aristocrat, had been a hot potato throughout Europe since 1832, when it was banned immediately after its first performance in Paris. Verdi was interested less in criticism of the ruling classes and more in the tragedy of the court jester whose existence is devastated. The deformed entertainer in a world of men who consume women pulls out all the stops in his sarcasm and yet believes that he will remain unharmed by his public actions if he merely separates them cleanly from his private happiness. But when his daughter, imprisoned in a remote location for her own protection, follows her own longing, she becomes the victim of his double existence. A lonely, pitiable clown? "An amoral petty bourgeois man", thinks Arpad Schilling, "who dreams of innocence. A husband mourning for his wife and filled with a thirst for revenge. A great actor to whom success is more important than his own daughter. The fool of a noble lord who has been cheated by his own happiness. Verdi can do what Shakespeare does: He can tell a story in such a way as to make us shudder."
New productionIn Italian with German surtitles.Fabio Luisi, Conductor Árpád Schilling, Director Joseph Calleja, Tenor: The Duke of Mantua Franco Vassallo, Baritone: Rigoletto Patricia Petibon, Soprano: Gilda Dimitry Ivashchenko, Bass: Sparafucile Nadia Krasteva, Mezzo-soprano: Maddalena | ||
| Thursday 18-Jul-13 04:00pm |
National Theatre, Munich Götterdämmerung Munich Opera Festival |
Bavarian State Opera Kent Nagano, Conductor Andreas Kriegenburg, Director Stephen Gould, Tenor: Siegfried Iain Paterson, Bass: Gunther Hans-Peter König, Bass: Hagen Tomasz Konieczny, Bass: Alberich Nina Stemme, Soprano: Brünhilde Erika Wueschner, Soprano: Gutrune Michaela Schuster, Mezzo-soprano: Waltraute Hanna-Elisabeth Müller, Soprano: Woglinde Angela Brower, Mezzo-soprano: Wellgunde |
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| National Theatre, Munich, Munich, Germany Thursday 18-Jul-13 04:00pm Third Day of "Der Ring des Nibelungen"
Wagner had begun work on his cycle with the prose sketch Siegfrieds Tod (Siegfried’s Death), then rolled it back into the past, like the Norns, who, at the beginning of the Third Day, try to tie together the ropes of yesterday and tomorrow.
Hagen and Siegfried – the sons continue the duel of their fathers. But Hagen plays with different weapons – sorcery, mendacity and betrayal. Siegfried declares the ring, which came about through the malediction of love, to the symbol of his love. Nevertheless, the curse is stronger. Siegfried betrays his love. Brünnhilde betrays Siegfried. Siegfried swears an oath on the weapon that only a short time later will penetrate his heart.
The gods gaze impotently on their own downfall. The struggle for power transfers to the humans who survive the catastrophe and will perhaps understand everything now that they know the end.
New production.
In German with German surtitlesKent Nagano, Conductor Andreas Kriegenburg, Director Stephen Gould, Tenor: Siegfried Iain Paterson, Bass: Gunther Hans-Peter König, Bass: Hagen Tomasz Konieczny, Bass: Alberich Nina Stemme, Soprano: Brünhilde Erika Wueschner, Soprano: Gutrune Michaela Schuster, Mezzo-soprano: Waltraute Hanna-Elisabeth Müller, Soprano: Woglinde Angela Brower, Mezzo-soprano: Wellgunde | ||
| Saturday 20-Jul-13 07:00pm |
National Theatre, Munich Rigoletto Munich Opera Festival |
Bavarian State Opera Fabio Luisi, Conductor Árpád Schilling, Director Joseph Calleja, Tenor: The Duke of Mantua Franco Vassallo, Baritone: Rigoletto Patrizia Ciofi, Soprano: Gilda Dimitry Ivashchenko, Bass: Sparafucile Nadia Krasteva, Mezzo-soprano: Maddalena |
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| National Theatre, Munich, Munich, Germany Saturday 20-Jul-13 07:00pm The first performance of the first opera in Verdi's legendary "trilogia popolare" at the Teatro La Fenice in Venice was preceded by a tricky battle with the censor. After all, the play by Victor Hugo on which it was based, about the cynical hedonism of an aristocrat, had been a hot potato throughout Europe since 1832, when it was banned immediately after its first performance in Paris. Verdi was interested less in criticism of the ruling classes and more in the tragedy of the court jester whose existence is devastated. The deformed entertainer in a world of men who consume women pulls out all the stops in his sarcasm and yet believes that he will remain unharmed by his public actions if he merely separates them cleanly from his private happiness. But when his daughter, imprisoned in a remote location for her own protection, follows her own longing, she becomes the victim of his double existence. A lonely, pitiable clown? "An amoral petty bourgeois man", thinks Arpad Schilling, "who dreams of innocence. A husband mourning for his wife and filled with a thirst for revenge. A great actor to whom success is more important than his own daughter. The fool of a noble lord who has been cheated by his own happiness. Verdi can do what Shakespeare does: He can tell a story in such a way as to make us shudder."
New productionIn Italian with German surtitles.Fabio Luisi, Conductor Árpád Schilling, Director Joseph Calleja, Tenor: The Duke of Mantua Franco Vassallo, Baritone: Rigoletto Patrizia Ciofi, Soprano: Gilda Dimitry Ivashchenko, Bass: Sparafucile Nadia Krasteva, Mezzo-soprano: Maddalena | ||
| Sunday 21-Jul-13 07:00pm |
National Theatre, Munich Babylon Munich Opera Festival |
Bavarian State Opera Kent Nagano, Conductor Carlos Padrissa, Director Claron McFadden, Soprano: Seele Anna Prohaska, Soprano: Inanna Rainer Trost, Tenor: Tammu Sir Willard White, Bass-baritone: Priesterkönig Gabriele Schnaut, Soprano: Euphrat Kai Wessel, Countertenor: Skorpionmensch |
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| National Theatre, Munich, Munich, Germany Sunday 21-Jul-13 07:00pm Oper in sieben Bildern
Die monumentale Großstadt Babylon wird zum Schauplatz eines zivilisatorischen Umbruchs im Moment des Aufeinanderprallens zweier Kulturen: Während die Babylonier noch das Menschenopfer praktizieren, haben die Juden, die hier im Exil festsitzen, es bereits abgeschafft. Die Oper verfolgt diesen Konflikt über die Liebe des Exilanten Tammu zur Babylonierin Inanna, Priesterin im Tempel der freien Liebe. Als die Götter im Weltall Chaos entfesseln, werden auch die Tage auf der Erde wirr, Meteoritenhagel bedrohen die Menschen, der Euphrat verlässt sein Bett, es kommt zur Sintflut. Der Priesterkönig verspricht Ruhe und Ordnung zwischen Himmel und Erde durch ein Menschenopfer, die Babylonier begehen dies in einem rauschhaften Fest. Inanna aber steigt hinab in die Unterwelt, um den geopferten Tammu zurück ins Leben zu holen und sich mit ihm zu vereinigen. Am Ende siegt die Liebe und Versöhnung zwischen dem Himmel und den Menschen löst das alte Opfer ab. Eine vertragliche Übereinkunft begründet eine neue Weltordnung, in der wir uns noch heute befinden: die auf geordnete Wiederkehr beruhende 7-Tage-Woche.
Der Komponist Jörg Widmann trug lange die Idee einer Oper zu Babylon in sich. Seine ursprüngliche Faszination wurde geweckt von dem völlig anderen, für uns kaum beschreibbaren Liebeskonzept im vorantiken Mesopotamien. Die Liebe zwischen Tammu und Inanna geht zurück auf eines der legendärsten mythologischen Liebespaare der Babylonischen Antike, das schon Mozarts Zauberflöten-Dichter Schikaneder inspiriert hat: zwischen dem Helden Tammuzi und Inanna, Göttin der Liebe und des Krieges.
In German with German surtitles.Kent Nagano, Conductor Carlos Padrissa, Director Claron McFadden, Soprano: Seele Anna Prohaska, Soprano: Inanna Rainer Trost, Tenor: Tammu Sir Willard White, Bass-baritone: Priesterkönig Gabriele Schnaut, Soprano: Euphrat Kai Wessel, Countertenor: Skorpionmensch | ||
| Tuesday 23-Jul-13 07:00pm |
Prinzregententheater, Munich Written on Skin Munich Opera Festival |
Bavarian State Opera Kent Nagano, Conductor Katie Mitchell, Director Christopher Purves, Bass: The Protector Barbara Hannigan, Soprano: Agnès Iestyn Davies, Countertenor: Boy / Angel 1 Victoria Simmonds, Mezzo-soprano: Marie / Angel 2 Allan Clayton, Tenor: John / Angel 3 |
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| Prinzregententheater, Munich, 81675 Munich, Germany Tuesday 23-Jul-13 07:00pm Produced by Festival d'Aix-en-Provence, De Nederlandse Opera, Théâtre du Capitole, Royal Opera House Covent Garden, London and Teatro del Maggio Fiorentino. In English.Image credit: George Benjamin Kent Nagano, Conductor Katie Mitchell, Director Christopher Purves, Bass: The Protector Barbara Hannigan, Soprano: Agnès Iestyn Davies, Countertenor: Boy / Angel 1 Victoria Simmonds, Mezzo-soprano: Marie / Angel 2 Allan Clayton, Tenor: John / Angel 3 | ||
| Wednesday 24-Jul-13 07:00pm |
National Theatre, Munich Rigoletto Munich Opera Festival |
Bavarian State Opera Marco Armiliato, Conductor Árpád Schilling, Director Joseph Calleja, Tenor: The Duke of Mantua Franco Vassallo, Baritone: Rigoletto Patrizia Ciofi, Soprano: Gilda Dimitry Ivashchenko, Bass: Sparafucile Nadia Krasteva, Mezzo-soprano: Maddalena |
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| National Theatre, Munich, Munich, Germany Wednesday 24-Jul-13 07:00pm The first performance of the first opera in Verdi's legendary "trilogia popolare" at the Teatro La Fenice in Venice was preceded by a tricky battle with the censor. After all, the play by Victor Hugo on which it was based, about the cynical hedonism of an aristocrat, had been a hot potato throughout Europe since 1832, when it was banned immediately after its first performance in Paris. Verdi was interested less in criticism of the ruling classes and more in the tragedy of the court jester whose existence is devastated. The deformed entertainer in a world of men who consume women pulls out all the stops in his sarcasm and yet believes that he will remain unharmed by his public actions if he merely separates them cleanly from his private happiness. But when his daughter, imprisoned in a remote location for her own protection, follows her own longing, she becomes the victim of his double existence. A lonely, pitiable clown? "An amoral petty bourgeois man", thinks Arpad Schilling, "who dreams of innocence. A husband mourning for his wife and filled with a thirst for revenge. A great actor to whom success is more important than his own daughter. The fool of a noble lord who has been cheated by his own happiness. Verdi can do what Shakespeare does: He can tell a story in such a way as to make us shudder."
New productionIn Italian with German surtitles.Marco Armiliato, Conductor Árpád Schilling, Director Joseph Calleja, Tenor: The Duke of Mantua Franco Vassallo, Baritone: Rigoletto Patrizia Ciofi, Soprano: Gilda Dimitry Ivashchenko, Bass: Sparafucile Nadia Krasteva, Mezzo-soprano: Maddalena | ||
| Thursday 25-Jul-13 06:00pm |
National Theatre, Munich Don Carlo Munich Opera Festival |
Bavarian State Opera Zubin Mehta, Conductor Jürgen Rose, Director René Pape, Bass: Philippe II, King of Spain Jonas Kaufmann, Tenor: Don Carlos Mariusz Kwiecien, Baritone: Rodrigo, Marquis of Posa Taras Shtonda, Bass: Grand Inquisitor Diogenes Randes, Bass: A Monk Anja Harteros, Soprano: Elisabeth of Valois, Queen of Spain Sonia Ganassi, Mezzo-soprano: Princess Eboli Hanna-Elisabeth Müller, Soprano: Thibault Francesco Petrozzi, Tenor: The Count of Lerma |
 Wilfried Hösl IMG_5310.jpg "Image credit: Wilfried Hösl") | ||
| National Theatre, Munich, Munich, Germany Thursday 25-Jul-13 06:00pm Spain in 1560: life on the brink of the abyss. A land ruled by church and state! Will the mighty – the grand inquisitor and the king – succeed in killing love? Will they manage to extinguish the blazing flame of liberty? Verdi's darkest opera causes us to tremble, but the composer’s musical genius does it in a fascinating and deeply moving way.
Five act version Italian with German surtitles.Image credit: Wilfried Hösl Zubin Mehta, Conductor Jürgen Rose, Director René Pape, Bass: Philippe II, King of Spain Jonas Kaufmann, Tenor: Don Carlos Mariusz Kwiecien, Baritone: Rodrigo, Marquis of Posa Taras Shtonda, Bass: Grand Inquisitor Diogenes Randes, Bass: A Monk Anja Harteros, Soprano: Elisabeth of Valois, Queen of Spain Sonia Ganassi, Mezzo-soprano: Princess Eboli Hanna-Elisabeth Müller, Soprano: Thibault Francesco Petrozzi, Tenor: The Count of Lerma | ||
| Thursday 25-Jul-13 07:00pm |
Prinzregententheater, Munich Written on Skin Munich Opera Festival |
Bavarian State Opera Kent Nagano, Conductor Katie Mitchell, Director Christopher Purves, Bass: The Protector Barbara Hannigan, Soprano: Agnès Iestyn Davies, Countertenor: Boy / Angel 1 Victoria Simmonds, Mezzo-soprano: Marie / Angel 2 Allan Clayton, Tenor: John / Angel 3 |
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| Prinzregententheater, Munich, 81675 Munich, Germany Thursday 25-Jul-13 07:00pm Produced by Festival d'Aix-en-Provence, De Nederlandse Opera, Théâtre du Capitole, Royal Opera House Covent Garden, London and Teatro del Maggio Fiorentino. In English.Image credit: George Benjamin Kent Nagano, Conductor Katie Mitchell, Director Christopher Purves, Bass: The Protector Barbara Hannigan, Soprano: Agnès Iestyn Davies, Countertenor: Boy / Angel 1 Victoria Simmonds, Mezzo-soprano: Marie / Angel 2 Allan Clayton, Tenor: John / Angel 3 | ||
| Friday 26-Jul-13 07:30pm |
National Theatre, Munich Boris Godunov Munich Opera Festival |
Bavarian State Opera Kent Nagano, Conductor Calixto Bieito, Director Alexander Tsymbalyuk, Bass: Boris Yulia Sokolik, Mezzo-soprano: Feodor Anna Virovlansky, Soprano: Xenia Heike Grötzinger, Mezzo-soprano: Xenia's nurse Markus Eiche, Baritone: Shchelkalov Gerhard Siegel, Tenor: Prince Shuisky Anatoli Kotscherga, Bass: Pimen Sergei Skorokhodov, Tenor: Grigory / Dmitri |
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| National Theatre, Munich, Munich, Germany Friday 26-Jul-13 07:30pm New production.
In Russian with German surtitlesKent Nagano, Conductor Calixto Bieito, Director Alexander Tsymbalyuk, Bass: Boris Yulia Sokolik, Mezzo-soprano: Feodor Anna Virovlansky, Soprano: Xenia Heike Grötzinger, Mezzo-soprano: Xenia's nurse Markus Eiche, Baritone: Shchelkalov Gerhard Siegel, Tenor: Prince Shuisky Anatoli Kotscherga, Bass: Pimen Sergei Skorokhodov, Tenor: Grigory / Dmitri | ||
| Saturday 27-Jul-13 07:00pm |
Prinzregententheater, Munich Written on Skin Munich Opera Festival |
Bavarian State Opera Kent Nagano, Conductor Katie Mitchell, Director Christopher Purves, Bass: The Protector Barbara Hannigan, Soprano: Agnès Iestyn Davies, Countertenor: Boy / Angel 1 Victoria Simmonds, Mezzo-soprano: Marie / Angel 2 Allan Clayton, Tenor: John / Angel 3 |
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| Prinzregententheater, Munich, 81675 Munich, Germany Saturday 27-Jul-13 07:00pm Produced by Festival d'Aix-en-Provence, De Nederlandse Opera, Théâtre du Capitole, Royal Opera House Covent Garden, London and Teatro del Maggio Fiorentino. In English.Image credit: George Benjamin Kent Nagano, Conductor Katie Mitchell, Director Christopher Purves, Bass: The Protector Barbara Hannigan, Soprano: Agnès Iestyn Davies, Countertenor: Boy / Angel 1 Victoria Simmonds, Mezzo-soprano: Marie / Angel 2 Allan Clayton, Tenor: John / Angel 3 | ||
| Sunday 28-Jul-13 06:00pm |
National Theatre, Munich Don Carlo Munich Opera Festival |
Bavarian State Opera Zubin Mehta, Conductor Jürgen Rose, Director René Pape, Bass: Philippe II, King of Spain Jonas Kaufmann, Tenor: Don Carlos Mariusz Kwiecien, Baritone: Rodrigo, Marquis of Posa Taras Shtonda, Bass: Grand Inquisitor Diogenes Randes, Bass: A Monk Anja Harteros, Soprano: Elisabeth of Valois, Queen of Spain Sonia Ganassi, Mezzo-soprano: Princess Eboli Hanna-Elisabeth Müller, Soprano: Thibault Francesco Petrozzi, Tenor: The Count of Lerma |
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| National Theatre, Munich, Munich, Germany Sunday 28-Jul-13 06:00pm Spain in 1560: life on the brink of the abyss. A land ruled by church and state! Will the mighty – the grand inquisitor and the king – succeed in killing love? Will they manage to extinguish the blazing flame of liberty? Verdi's darkest opera causes us to tremble, but the composer’s musical genius does it in a fascinating and deeply moving way.
Five act version Italian with German surtitles.Image credit: Wilfried Hösl Zubin Mehta, Conductor Jürgen Rose, Director René Pape, Bass: Philippe II, King of Spain Jonas Kaufmann, Tenor: Don Carlos Mariusz Kwiecien, Baritone: Rodrigo, Marquis of Posa Taras Shtonda, Bass: Grand Inquisitor Diogenes Randes, Bass: A Monk Anja Harteros, Soprano: Elisabeth of Valois, Queen of Spain Sonia Ganassi, Mezzo-soprano: Princess Eboli Hanna-Elisabeth Müller, Soprano: Thibault Francesco Petrozzi, Tenor: The Count of Lerma | ||
| Monday 29-Jul-13 07:00pm |
National Theatre, Munich Macbeth Munich Opera Festival |
Bavarian State Opera Massimo Zanetti, Conductor Martin Kusej, Director Željko Lučić, Baritone: Macbeth Diogenes Randes, Bass: Banquo Nadja Michael, Soprano: Lady Macbeth Golda Schult\, Soprano: Lady in Waiting Wookyung Kim, Tenor: Macduff Emanuele D'Aguanno, Tenor: Malcolm |
W.Hösl.jpg "Image credit: Wilfried Hösl") | ||
| National Theatre, Munich, Munich, Germany Monday 29-Jul-13 07:00pm In honeyed tones, Lord and Lady Macbeth reveal their passionate and bizarre emotions to us. But behind this beauty there lurks an abyss, which Verdi unveils with one of the cruelest dramas in the history of world literature. In their struggle to seize power and retain it once it has been usurped, Macbeth and his lady commit one murder after another. The unwavering nature of their desire imbues their love with a radicality that would have been unthinkable on the operatic stage before this work. “The subject matter of this opera is neither political nor religious: it is fantastic,” wrote Verdi and brought Shakespeare’s play closer to a more “romantic” reading. In actual fact, the witches, ghosts and apparitions, the eerie elements, which dominate the musical and dramatic flow, in short the whole world of this opera can be regarded as an outward image of its protagonists’ inner state.
In Italian with German surtitles.Image credit: Wilfried Hösl Massimo Zanetti, Conductor Martin Kusej, Director Željko Lučić, Baritone: Macbeth Diogenes Randes, Bass: Banquo Nadja Michael, Soprano: Lady Macbeth Golda Schult\, Soprano: Lady in Waiting Wookyung Kim, Tenor: Macduff Emanuele D'Aguanno, Tenor: Malcolm | ||
| Tuesday 30-Jul-13 07:00pm |
National Theatre, Munich Boris Godunov Munich Opera Festival |
Bavarian State Opera Kent Nagano, Conductor Calixto Bieito, Director Alexander Tsymbalyuk, Bass: Boris Yulia Sokolik, Mezzo-soprano: Feodor Anna Virovlansky, Soprano: Xenia Heike Grötzinger, Mezzo-soprano: Xenia's nurse Markus Eiche, Baritone: Shchelkalov Gerhard Siegel, Tenor: Prince Shuisky Anatoli Kotscherga, Bass: Pimen Sergei Skorokhodov, Tenor: Grigory / Dmitri |
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| National Theatre, Munich, Munich, Germany Tuesday 30-Jul-13 07:00pm New production.
In Russian with German surtitlesKent Nagano, Conductor Calixto Bieito, Director Alexander Tsymbalyuk, Bass: Boris Yulia Sokolik, Mezzo-soprano: Feodor Anna Virovlansky, Soprano: Xenia Heike Grötzinger, Mezzo-soprano: Xenia's nurse Markus Eiche, Baritone: Shchelkalov Gerhard Siegel, Tenor: Prince Shuisky Anatoli Kotscherga, Bass: Pimen Sergei Skorokhodov, Tenor: Grigory / Dmitri | ||
| Wednesday 31-Jul-13 05:00pm |
National Theatre, Munich Parsifal Munich Opera Festival |
Bavarian State Opera Kent Nagano, Conductor Peter Konwitschny, Director Thomas Hampson, Baritone: Amfortas Diogenes Randes, Bass: Titurel Kwangchul Youn, Bass: Gurnemanz Christopher Ventris, Tenor: Parsifal Yevgeny Nikitin, Bass-baritone: Klingsor Petra Lang, Mezzo-soprano: Kundry Kevin Conners, Tenor: First knight of the Grail Tareq Nazmi, Bass: Second knight of the Grail |
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| National Theatre, Munich, Munich, Germany Wednesday 31-Jul-13 05:00pm SWho's afraid of the Bühnenweihfestspiel? Will Parsifal manage to bring the sacred spear back to the Knights of the Grail? Will he resist the blandishments of the primal sorceress "Kundry". Does salvation exist? Does compassion bring knowledge? Wagner's late work not as artificial religion – but rather as critical music theatre. Peter Konwitschny's production: admired, cheered and hotly controversial. A scandal? Well, judge for yourself.
Sung in German.Kent Nagano, Conductor Peter Konwitschny, Director Thomas Hampson, Baritone: Amfortas Diogenes Randes, Bass: Titurel Kwangchul Youn, Bass: Gurnemanz Christopher Ventris, Tenor: Parsifal Yevgeny Nikitin, Bass-baritone: Klingsor Petra Lang, Mezzo-soprano: Kundry Kevin Conners, Tenor: First knight of the Grail Tareq Nazmi, Bass: Second knight of the Grail | ||
| Friday 20-Sep-13 07:00pm |
National Theatre, Munich L'Elisir D'Amore |
Bavarian State Opera Carlo Montanaro, Conductor David Bösch, Director Patrick Bannwart, Set Designer Ekaterina Sadovnikova, Soprano: Adina Giuseppe Filianoti, Tenor: Nemorino Levente Molnár, Baritone: Belcore Nicola Alaimo, Baritone: Dulcamara Iulia Maria Dan, Soprano: Giannetta |
 Wilfried Hösl.jpg "Image credit: © Wilfried Hösl") | ||
| National Theatre, Munich, Munich, Germany Friday 20-Sep-13 07:00pm 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
Prices I: 100 / 88 / 73 / 56 / 40 / 25 / 12 / 9Image credit: © Wilfried Hösl Carlo Montanaro, Conductor David Bösch, Director Patrick Bannwart, Set Designer Ekaterina Sadovnikova, Soprano: Adina Giuseppe Filianoti, Tenor: Nemorino Levente Molnár, Baritone: Belcore Nicola Alaimo, Baritone: Dulcamara Iulia Maria Dan, Soprano: Giannetta | ||
| Sunday 22-Sep-13 06:00pm |
National Theatre, Munich Don Giovanni |
Bavarian State Opera Louis Langrée, Conductor Stephan Kimmig, Director Katja Hass, Set Designer Elza van den Heever, Soprano: Donna Anna Dorothea Röschmann, Soprano: Donna Elvira Laura Tatulescu, Soprano: Zerlina Simon Keenlyside, Baritone: Don Giovanni Kyle Ketelsen, Baritone: Leporello Bernard Richter, Tenor: Don Ottavio Tareq Nazmi, Bass: Masetto Goran Juric, Bass: The Commendatore |
 Wilfried Hösl.jpg "Image credit: © Wilfried Hösl") | ||
| National Theatre, Munich, Munich, Germany Sunday 22-Sep-13 06:00pm 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 Image credit: © Wilfried Hösl Louis Langrée, Conductor Stephan Kimmig, Director Katja Hass, Set Designer Elza van den Heever, Soprano: Donna Anna Dorothea Röschmann, Soprano: Donna Elvira Laura Tatulescu, Soprano: Zerlina Simon Keenlyside, Baritone: Don Giovanni Kyle Ketelsen, Baritone: Leporello Bernard Richter, Tenor: Don Ottavio Tareq Nazmi, Bass: Masetto Goran Juric, Bass: The Commendatore | ||
| Wednesday 25-Sep-13 07:00pm |
National Theatre, Munich L'Elisir D'Amore |
Bavarian State Opera Carlo Montanaro, Conductor David Bösch, Director Patrick Bannwart, Set Designer Ekaterina Sadovnikova, Soprano: Adina Giuseppe Filianoti, Tenor: Nemorino Levente Molnár, Baritone: Belcore Nicola Alaimo, Baritone: Dulcamara Iulia Maria Dan, Soprano: Giannetta |
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| National Theatre, Munich, Munich, Germany Wednesday 25-Sep-13 07:00pm 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
Prices I: 100 / 88 / 73 / 56 / 40 / 25 / 12 / 9Image credit: © Wilfried Hösl Carlo Montanaro, Conductor David Bösch, Director Patrick Bannwart, Set Designer Ekaterina Sadovnikova, Soprano: Adina Giuseppe Filianoti, Tenor: Nemorino Levente Molnár, Baritone: Belcore Nicola Alaimo, Baritone: Dulcamara Iulia Maria Dan, Soprano: Giannetta | ||
| Thursday 26-Sep-13 07:00pm |
National Theatre, Munich Don Giovanni |
Bavarian State Opera Louis Langrée, Conductor Stephan Kimmig, Director Katja Hass, Set Designer Elza van den Heever, Soprano: Donna Anna Dorothea Röschmann, Soprano: Donna Elvira Laura Tatulescu, Soprano: Zerlina Simon Keenlyside, Baritone: Don Giovanni Kyle Ketelsen, Baritone: Leporello Bernard Richter, Tenor: Don Ottavio Tareq Nazmi, Bass: Masetto Goran Juric, Bass: The Commendatore |
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| National Theatre, Munich, Munich, Germany Thursday 26-Sep-13 07:00pm 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 Image credit: © Wilfried Hösl Louis Langrée, Conductor Stephan Kimmig, Director Katja Hass, Set Designer Elza van den Heever, Soprano: Donna Anna Dorothea Röschmann, Soprano: Donna Elvira Laura Tatulescu, Soprano: Zerlina Simon Keenlyside, Baritone: Don Giovanni Kyle Ketelsen, Baritone: Leporello Bernard Richter, Tenor: Don Ottavio Tareq Nazmi, Bass: Masetto Goran Juric, Bass: The Commendatore | ||
| Friday 27-Sep-13 07:00pm |
National Theatre, Munich The Marriage of Figaro |
Bavarian State Opera Ivor Bolton, Conductor Dieter Dorn, Director Jürgen Rose, Set Designer Rachel Frenkel, Mezzo-soprano: Cherubino Genia Kühmeier, Soprano: Countess Almaviva Hanna-Elisabeth Müller, Soprano: Susanna Stéphane Degout, Baritone: Count Almaviva Vito Priante, Baritone: Figaro Umberto Chiummo, Bass-baritone: Doctor Bartolo Maria Celeng, Soprano: Barbarina Heike Grötzinger, Mezzo-soprano: Marcellina Alexander Kaimbacher, Tenor: Don Basilio Kevin Conners, Tenor: Don Curzio Christoph Stephinger, Bass: Antonio |
 Wilfried Hösl.jpg "Image credit: © Wilfried Hösl") | ||
| National Theatre, Munich, Munich, Germany Friday 27-Sep-13 07:00pm 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. Double disguises and then some – and even more complications. Everybody wants everyone else – which doesn't 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 Image credit: © Wilfried Hösl Ivor Bolton, Conductor Dieter Dorn, Director Jürgen Rose, Set Designer Rachel Frenkel, Mezzo-soprano: Cherubino Genia Kühmeier, Soprano: Countess Almaviva Hanna-Elisabeth Müller, Soprano: Susanna Stéphane Degout, Baritone: Count Almaviva Vito Priante, Baritone: Figaro Umberto Chiummo, Bass-baritone: Doctor Bartolo Maria Celeng, Soprano: Barbarina Heike Grötzinger, Mezzo-soprano: Marcellina Alexander Kaimbacher, Tenor: Don Basilio Kevin Conners, Tenor: Don Curzio Christoph Stephinger, Bass: Antonio | ||
| Saturday 28-Sep-13 07:00pm |
National Theatre, Munich L'Elisir D'Amore |
Bavarian State Opera Carlo Montanaro, Conductor David Bösch, Director Patrick Bannwart, Set Designer Ekaterina Sadovnikova, Soprano: Adina Giuseppe Filianoti, Tenor: Nemorino Levente Molnár, Baritone: Belcore Nicola Alaimo, Baritone: Dulcamara Iulia Maria Dan, Soprano: Giannetta |
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| National Theatre, Munich, Munich, Germany Saturday 28-Sep-13 07:00pm 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
Prices I: 100 / 88 / 73 / 56 / 40 / 25 / 12 / 9Image credit: © Wilfried Hösl Carlo Montanaro, Conductor David Bösch, Director Patrick Bannwart, Set Designer Ekaterina Sadovnikova, Soprano: Adina Giuseppe Filianoti, Tenor: Nemorino Levente Molnár, Baritone: Belcore Nicola Alaimo, Baritone: Dulcamara Iulia Maria Dan, Soprano: Giannetta | ||
| Sunday 29-Sep-13 06:00pm |
National Theatre, Munich Don Giovanni |
Bavarian State Opera Louis Langrée, Conductor Stephan Kimmig, Director Katja Hass, Set Designer Elza van den Heever, Soprano: Donna Anna Dorothea Röschmann, Soprano: Donna Elvira Laura Tatulescu, Soprano: Zerlina Simon Keenlyside, Baritone: Don Giovanni Kyle Ketelsen, Baritone: Leporello Bernard Richter, Tenor: Don Ottavio Tareq Nazmi, Bass: Masetto Goran Juric, Bass: The Commendatore |
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| National Theatre, Munich, Munich, Germany Sunday 29-Sep-13 06:00pm 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 Image credit: © Wilfried Hösl Louis Langrée, Conductor Stephan Kimmig, Director Katja Hass, Set Designer Elza van den Heever, Soprano: Donna Anna Dorothea Röschmann, Soprano: Donna Elvira Laura Tatulescu, Soprano: Zerlina Simon Keenlyside, Baritone: Don Giovanni Kyle Ketelsen, Baritone: Leporello Bernard Richter, Tenor: Don Ottavio Tareq Nazmi, Bass: Masetto Goran Juric, Bass: The Commendatore | ||
| Tuesday 1-Oct-13 07:00pm |
National Theatre, Munich The Marriage of Figaro |
Bavarian State Opera Ivor Bolton, Conductor Dieter Dorn, Director Jürgen Rose, Set Designer Rachel Frenkel, Mezzo-soprano: Cherubino Genia Kühmeier, Soprano: Countess Almaviva Hanna-Elisabeth Müller, Soprano: Susanna Stéphane Degout, Baritone: Count Almaviva Vito Priante, Baritone: Figaro Umberto Chiummo, Bass-baritone: Doctor Bartolo Maria Celeng, Soprano: Barbarina Heike Grötzinger, Mezzo-soprano: Marcellina Alexander Kaimbacher, Tenor: Don Basilio Kevin Conners, Tenor: Don Curzio Christoph Stephinger, Bass: Antonio |
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| National Theatre, Munich, Munich, Germany Tuesday 1-Oct-13 07:00pm 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. Double disguises and then some – and even more complications. Everybody wants everyone else – which doesn't 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 Image credit: © Wilfried Hösl Ivor Bolton, Conductor Dieter Dorn, Director Jürgen Rose, Set Designer Rachel Frenkel, Mezzo-soprano: Cherubino Genia Kühmeier, Soprano: Countess Almaviva Hanna-Elisabeth Müller, Soprano: Susanna Stéphane Degout, Baritone: Count Almaviva Vito Priante, Baritone: Figaro Umberto Chiummo, Bass-baritone: Doctor Bartolo Maria Celeng, Soprano: Barbarina Heike Grötzinger, Mezzo-soprano: Marcellina Alexander Kaimbacher, Tenor: Don Basilio Kevin Conners, Tenor: Don Curzio Christoph Stephinger, Bass: Antonio | ||
| Thursday 3-Oct-13 08:00pm |
National Theatre, Munich Wozzeck |
Bavarian State Opera Lothar Koenigs, Conductor Andreas Kriegenburg, Director Harald Thor, Set Designer Angela Denoke, Soprano: Marie Wolfgang Ablinger-Sperrhacke, Tenor: Captain Simon Keenlyside, Baritone: Wozzeck Wolfgang Bankl, Bass: Doctor Heike Grötzinger, Mezzo-soprano: Margret Kevin Conners, Tenor: Andres Roman Sadnik, Tenor: Drum major |
 Wilfried Hösl.jpg "Image credit: © Wilfried Hösl") | ||
| National Theatre, Munich, Munich, Germany Thursday 3-Oct-13 08:00pm 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 falls 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, 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, on the eve of the First World War. 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 theatre to lament the loss of fallen mankind 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 Image credit: © Wilfried Hösl Lothar Koenigs, Conductor Andreas Kriegenburg, Director Harald Thor, Set Designer Angela Denoke, Soprano: Marie Wolfgang Ablinger-Sperrhacke, Tenor: Captain Simon Keenlyside, Baritone: Wozzeck Wolfgang Bankl, Bass: Doctor Heike Grötzinger, Mezzo-soprano: Margret Kevin Conners, Tenor: Andres Roman Sadnik, Tenor: Drum major | ||
| Friday 4-Oct-13 07:00pm |
National Theatre, Munich The Marriage of Figaro |
Bavarian State Opera Ivor Bolton, Conductor Dieter Dorn, Director Jürgen Rose, Set Designer Rachel Frenkel, Mezzo-soprano: Cherubino Genia Kühmeier, Soprano: Countess Almaviva Hanna-Elisabeth Müller, Soprano: Susanna Stéphane Degout, Baritone: Count Almaviva Vito Priante, Baritone: Figaro Umberto Chiummo, Bass-baritone: Doctor Bartolo Maria Celeng, Soprano: Barbarina Heike Grötzinger, Mezzo-soprano: Marcellina Alexander Kaimbacher, Tenor: Don Basilio Kevin Conners, Tenor: Don Curzio Christoph Stephinger, Bass: Antonio |
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| National Theatre, Munich, Munich, Germany Friday 4-Oct-13 07:00pm 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. Double disguises and then some – and even more complications. Everybody wants everyone else – which doesn't 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 Image credit: © Wilfried Hösl Ivor Bolton, Conductor Dieter Dorn, Director Jürgen Rose, Set Designer Rachel Frenkel, Mezzo-soprano: Cherubino Genia Kühmeier, Soprano: Countess Almaviva Hanna-Elisabeth Müller, Soprano: Susanna Stéphane Degout, Baritone: Count Almaviva Vito Priante, Baritone: Figaro Umberto Chiummo, Bass-baritone: Doctor Bartolo Maria Celeng, Soprano: Barbarina Heike Grötzinger, Mezzo-soprano: Marcellina Alexander Kaimbacher, Tenor: Don Basilio Kevin Conners, Tenor: Don Curzio Christoph Stephinger, Bass: Antonio | ||
| Sunday 6-Oct-13 07:00pm |
National Theatre, Munich Wozzeck |
Bavarian State Opera Lothar Koenigs, Conductor Andreas Kriegenburg, Director Harald Thor, Set Designer Angela Denoke, Soprano: Marie Wolfgang Ablinger-Sperrhacke, Tenor: Captain Simon Keenlyside, Baritone: Wozzeck Wolfgang Bankl, Bass: Doctor Heike Grötzinger, Mezzo-soprano: Margret Kevin Conners, Tenor: Andres Roman Sadnik, Tenor: Drum major |
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| National Theatre, Munich, Munich, Germany Sunday 6-Oct-13 07:00pm 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 falls 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, 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, on the eve of the First World War. 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 theatre to lament the loss of fallen mankind 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 Image credit: © Wilfried Hösl Lothar Koenigs, Conductor Andreas Kriegenburg, Director Harald Thor, Set Designer Angela Denoke, Soprano: Marie Wolfgang Ablinger-Sperrhacke, Tenor: Captain Simon Keenlyside, Baritone: Wozzeck Wolfgang Bankl, Bass: Doctor Heike Grötzinger, Mezzo-soprano: Margret Kevin Conners, Tenor: Andres Roman Sadnik, Tenor: Drum major | ||
| Wednesday 9-Oct-13 07:00pm |
National Theatre, Munich Wozzeck |
Bavarian State Opera Lothar Koenigs, Conductor Andreas Kriegenburg, Director Harald Thor, Set Designer Angela Denoke, Soprano: Marie Wolfgang Ablinger-Sperrhacke, Tenor: Captain Simon Keenlyside, Baritone: Wozzeck Wolfgang Bankl, Bass: Doctor Heike Grötzinger, Mezzo-soprano: Margret Kevin Conners, Tenor: Andres Roman Sadnik, Tenor: Drum major |
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| National Theatre, Munich, Munich, Germany Wednesday 9-Oct-13 07:00pm 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 falls 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, 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, on the eve of the First World War. 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 theatre to lament the loss of fallen mankind 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 Image credit: © Wilfried Hösl Lothar Koenigs, Conductor Andreas Kriegenburg, Director Harald Thor, Set Designer Angela Denoke, Soprano: Marie Wolfgang Ablinger-Sperrhacke, Tenor: Captain Simon Keenlyside, Baritone: Wozzeck Wolfgang Bankl, Bass: Doctor Heike Grötzinger, Mezzo-soprano: Margret Kevin Conners, Tenor: Andres Roman Sadnik, Tenor: Drum major | ||
| Friday 11-Oct-13 07:00pm |
National Theatre, Munich The Marriage of Figaro |
Bavarian State Opera Ivor Bolton, Conductor Dieter Dorn, Director Jürgen Rose, Set Designer Rachel Frenkel, Mezzo-soprano: Cherubino Genia Kühmeier, Soprano: Countess Almaviva Hanna-Elisabeth Müller, Soprano: Susanna Stéphane Degout, Baritone: Count Almaviva Vito Priante, Baritone: Figaro Umberto Chiummo, Bass-baritone: Doctor Bartolo Maria Celeng, Soprano: Barbarina Heike Grötzinger, Mezzo-soprano: Marcellina Alexander Kaimbacher, Tenor: Don Basilio Kevin Conners, Tenor: Don Curzio Christoph Stephinger, Bass: Antonio |
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| National Theatre, Munich, Munich, Germany Friday 11-Oct-13 07:00pm 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. Double disguises and then some – and even more complications. Everybody wants everyone else – which doesn't 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 Image credit: © Wilfried Hösl Ivor Bolton, Conductor Dieter Dorn, Director Jürgen Rose, Set Designer Rachel Frenkel, Mezzo-soprano: Cherubino Genia Kühmeier, Soprano: Countess Almaviva Hanna-Elisabeth Müller, Soprano: Susanna Stéphane Degout, Baritone: Count Almaviva Vito Priante, Baritone: Figaro Umberto Chiummo, Bass-baritone: Doctor Bartolo Maria Celeng, Soprano: Barbarina Heike Grötzinger, Mezzo-soprano: Marcellina Alexander Kaimbacher, Tenor: Don Basilio Kevin Conners, Tenor: Don Curzio Christoph Stephinger, Bass: Antonio | ||
| Saturday 12-Oct-13 07:30pm |
National Theatre, Munich Rigoletto |
Bavarian State Opera Stefano Ranzani, Conductor Árpád Schilling, Director Márton Ágh, Set Designer Aleksandra Kurzak, Soprano: Gilda Alisa Kolosova, Mezzo-soprano: Maddalena Oksana Volkova, Mezzo-soprano: Maddalena Joseph Calleja, Tenor: The Duke of Mantua George Petean, Baritone: Rigoletto Rafal Siwek, Bass: Sparafucile/Bass: Monterone |
 Wilfried Hösl.jpg "Image credit: © Wilfried Hösl") | ||
| National Theatre, Munich, Munich, Germany Saturday 12-Oct-13 07:30pm The first performance of the first opera in Verdi's legendary "trilogia popolare" at the Teatro La Fenice in Venice was preceded by a tricky battle with the censor. After all, the play by Victor Hugo on which it was based, about the cynical hedonism of an aristocrat, had been a hot potato throughout Europe since 1832, when it was banned immediately after its first performance in Paris. Verdi was interested less in criticism of the ruling classes and more in the tragedy of the court jester whose existence is devastated. The deformed entertainer in a world of men who consume women pulls out all the stops in his sarcasm and yet believes that he will remain unharmed by his public actions if he merely separates them cleanly from his private happiness. But when his daughter, imprisoned in a remote location for her own protection, follows her own longing, she becomes the victim of his double existence. A lonely, pitiable clown? "An amoral petty bourgeois man", thinks Arpad Schilling, "who dreams of innocence. A husband mourning for his wife and filled with a thirst for revenge. A great actor to whom success is more important than his own daughter. The fool of a noble lord who has been cheated by his own happiness. Verdi can do what Shakespeare does: He can tell a story in such a way as to make us shudder."
In Italian with German surtitles New production Image credit: © Wilfried Hösl Stefano Ranzani, Conductor Árpád Schilling, Director Márton Ágh, Set Designer Aleksandra Kurzak, Soprano: Gilda Alisa Kolosova, Mezzo-soprano: Maddalena Oksana Volkova, Mezzo-soprano: Maddalena Joseph Calleja, Tenor: The Duke of Mantua George Petean, Baritone: Rigoletto Rafal Siwek, Bass: Sparafucile/Bass: Monterone | ||
| Tuesday 15-Oct-13 07:00pm |
National Theatre, Munich Rigoletto |
Bavarian State Opera Stefano Ranzani, Conductor Árpád Schilling, Director Márton Ágh, Set Designer Aleksandra Kurzak, Soprano: Gilda Alisa Kolosova, Mezzo-soprano: Maddalena Oksana Volkova, Mezzo-soprano: Maddalena Joseph Calleja, Tenor: The Duke of Mantua George Petean, Baritone: Rigoletto Rafal Siwek, Bass: Sparafucile/Bass: Monterone |
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| National Theatre, Munich, Munich, Germany Tuesday 15-Oct-13 07:00pm The first performance of the first opera in Verdi's legendary "trilogia popolare" at the Teatro La Fenice in Venice was preceded by a tricky battle with the censor. After all, the play by Victor Hugo on which it was based, about the cynical hedonism of an aristocrat, had been a hot potato throughout Europe since 1832, when it was banned immediately after its first performance in Paris. Verdi was interested less in criticism of the ruling classes and more in the tragedy of the court jester whose existence is devastated. The deformed entertainer in a world of men who consume women pulls out all the stops in his sarcasm and yet believes that he will remain unharmed by his public actions if he merely separates them cleanly from his private happiness. But when his daughter, imprisoned in a remote location for her own protection, follows her own longing, she becomes the victim of his double existence. A lonely, pitiable clown? "An amoral petty bourgeois man", thinks Arpad Schilling, "who dreams of innocence. A husband mourning for his wife and filled with a thirst for revenge. A great actor to whom success is more important than his own daughter. The fool of a noble lord who has been cheated by his own happiness. Verdi can do what Shakespeare does: He can tell a story in such a way as to make us shudder."
In Italian with German surtitles New production Image credit: © Wilfried Hösl Stefano Ranzani, Conductor Árpád Schilling, Director Márton Ágh, Set Designer Aleksandra Kurzak, Soprano: Gilda Alisa Kolosova, Mezzo-soprano: Maddalena Oksana Volkova, Mezzo-soprano: Maddalena Joseph Calleja, Tenor: The Duke of Mantua George Petean, Baritone: Rigoletto Rafal Siwek, Bass: Sparafucile/Bass: Monterone | ||
| Friday 18-Oct-13 07:00pm |
National Theatre, Munich Rigoletto |
Bavarian State Opera Stefano Ranzani, Conductor Árpád Schilling, Director Márton Ágh, Set Designer Aleksandra Kurzak, Soprano: Gilda Alisa Kolosova, Mezzo-soprano: Maddalena Oksana Volkova, Mezzo-soprano: Maddalena Joseph Calleja, Tenor: The Duke of Mantua George Petean, Baritone: Rigoletto Rafal Siwek, Bass: Sparafucile/Bass: Monterone |
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| National Theatre, Munich, Munich, Germany Friday 18-Oct-13 07:00pm The first performance of the first opera in Verdi's legendary "trilogia popolare" at the Teatro La Fenice in Venice was preceded by a tricky battle with the censor. After all, the play by Victor Hugo on which it was based, about the cynical hedonism of an aristocrat, had been a hot potato throughout Europe since 1832, when it was banned immediately after its first performance in Paris. Verdi was interested less in criticism of the ruling classes and more in the tragedy of the court jester whose existence is devastated. The deformed entertainer in a world of men who consume women pulls out all the stops in his sarcasm and yet believes that he will remain unharmed by his public actions if he merely separates them cleanly from his private happiness. But when his daughter, imprisoned in a remote location for her own protection, follows her own longing, she becomes the victim of his double existence. A lonely, pitiable clown? "An amoral petty bourgeois man", thinks Arpad Schilling, "who dreams of innocence. A husband mourning for his wife and filled with a thirst for revenge. A great actor to whom success is more important than his own daughter. The fool of a noble lord who has been cheated by his own happiness. Verdi can do what Shakespeare does: He can tell a story in such a way as to make us shudder."
In Italian with German surtitles New production Image credit: © Wilfried Hösl Stefano Ranzani, Conductor Árpád Schilling, Director Márton Ágh, Set Designer Aleksandra Kurzak, Soprano: Gilda Alisa Kolosova, Mezzo-soprano: Maddalena Oksana Volkova, Mezzo-soprano: Maddalena Joseph Calleja, Tenor: The Duke of Mantua George Petean, Baritone: Rigoletto Rafal Siwek, Bass: Sparafucile/Bass: Monterone | ||
| Sunday 20-Oct-13 07:00pm |
National Theatre, Munich L'enfant et les sortilèges, Der Zwerg (The Dwarf) |
Bavarian State Opera Martyn Brabbins, Conductor Grzegorz Jarzyna, Director Magdalena Maria Maciejewska, Set Designer Mélody Louledjian, Soprano: Fire Eri Nakamura, Soprano: Mouse Mélody Louledjian, Soprano: Nightingale Iulia Maria Dan, Soprano: Owl Hanna-Elisabeth Müller, Soprano: Princess Eri Nakamura, Soprano: Shepherdess Yulia Sokolik, Mezzo-soprano: Cat (female) Okka von der Damerau, Mezzo-soprano: China Cup/Mezzo-soprano: Mother Laura Tatulescu, Soprano: The Child Kevin Conners, Tenor: Wedgwood teapot Christian Rieger, Bass: Tree Jennifer Borghi, Mezzo-soprano: Clock Hanna-Elisabeth Müller, Soprano: Donna Clara Irmgard Vilsmaier, Soprano: Ghita John Daszak, Tenor: Dwarf Paul Gay, Bass-baritone: Don Estoban |
 Wilfried Hösl.jpg "Image credit: © Wilfried Hösl") | ||
| National Theatre, Munich, Munich, Germany Sunday 20-Oct-13 07:00pm L'enfant et les sortilèges, Der Zwerg (The Dwarf) In the first opera: the child who stubbornly refuses to do his homework and spitefully trashes his room suddenly watches objects come to life, inimically turned against him because of his hostility toward them. The furniture dances, the fire in the fireplace chases the child around, the numbers from his arithmetic book swirl about. Not until the child lovingly bandages the wounds of an injured squirrel on the lawn do the objects forgive him.
In the second: a dwarf looks forward to being allowed to congratulate the princess personally on her birthday, not suspecting that his function is simply to display his ugliness for the amusement of the party guests. Until now, he had never seen himself in the mirror, which is why he was captivated by his love for the princess. As he finally catches a glimpse of his mirror image, he suddenly becomes aware of the dirty trick that was played on him and sinks down dead. Sidonie Gabrielle Colette and Oscar Wilde wrote two totally different stories, both of which reveal how brutally people can treat one another. In Maurice Ravel’s score, jazz, operetta tunes and exotic themes blend together to form an enchanting fantasy world. The Viennese composer Alexander Zemlinsky had a close personal and artistic connection with Gustav Mahler, to whom he ultimately lost his lover Alma Schindler, who later described him as a “short, ugly gnome.” Sung in French and German with German surtitles Image credit: © Wilfried Hösl Martyn Brabbins, Conductor Grzegorz Jarzyna, Director Magdalena Maria Maciejewska, Set Designer Mélody Louledjian, Soprano: Fire Eri Nakamura, Soprano: Mouse Mélody Louledjian, Soprano: Nightingale Iulia Maria Dan, Soprano: Owl Hanna-Elisabeth Müller, Soprano: Princess Eri Nakamura, Soprano: Shepherdess Yulia Sokolik, Mezzo-soprano: Cat (female) Okka von der Damerau, Mezzo-soprano: China Cup/Mezzo-soprano: Mother Laura Tatulescu, Soprano: The Child Kevin Conners, Tenor: Wedgwood teapot Christian Rieger, Bass: Tree Jennifer Borghi, Mezzo-soprano: Clock Hanna-Elisabeth Müller, Soprano: Donna Clara Irmgard Vilsmaier, Soprano: Ghita John Daszak, Tenor: Dwarf Paul Gay, Bass-baritone: Don Estoban | ||
| Friday 25-Oct-13 07:00pm |
National Theatre, Munich L'enfant et les sortilèges, Der Zwerg (The Dwarf) |
Bavarian State Opera Martyn Brabbins, Conductor Grzegorz Jarzyna, Director Magdalena Maria Maciejewska, Set Designer Mélody Louledjian, Soprano: Fire Eri Nakamura, Soprano: Mouse Mélody Louledjian, Soprano: Nightingale Iulia Maria Dan, Soprano: Owl Hanna-Elisabeth Müller, Soprano: Princess Eri Nakamura, Soprano: Shepherdess Yulia Sokolik, Mezzo-soprano: Cat (female) Okka von der Damerau, Mezzo-soprano: China Cup/Mezzo-soprano: Mother Laura Tatulescu, Soprano: The Child Kevin Conners, Tenor: Wedgwood teapot Christian Rieger, Bass: Tree Jennifer Borghi, Mezzo-soprano: Clock Hanna-Elisabeth Müller, Soprano: Donna Clara Irmgard Vilsmaier, Soprano: Ghita John Daszak, Tenor: Dwarf Paul Gay, Bass-baritone: Don Estoban |
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| National Theatre, Munich, Munich, Germany Friday 25-Oct-13 07:00pm L'enfant et les sortilèges, Der Zwerg (The Dwarf) In the first opera: the child who stubbornly refuses to do his homework and spitefully trashes his room suddenly watches objects come to life, inimically turned against him because of his hostility toward them. The furniture dances, the fire in the fireplace chases the child around, the numbers from his arithmetic book swirl about. Not until the child lovingly bandages the wounds of an injured squirrel on the lawn do the objects forgive him.
In the second: a dwarf looks forward to being allowed to congratulate the princess personally on her birthday, not suspecting that his function is simply to display his ugliness for the amusement of the party guests. Until now, he had never seen himself in the mirror, which is why he was captivated by his love for the princess. As he finally catches a glimpse of his mirror image, he suddenly becomes aware of the dirty trick that was played on him and sinks down dead. Sidonie Gabrielle Colette and Oscar Wilde wrote two totally different stories, both of which reveal how brutally people can treat one another. In Maurice Ravel’s score, jazz, operetta tunes and exotic themes blend together to form an enchanting fantasy world. The Viennese composer Alexander Zemlinsky had a close personal and artistic connection with Gustav Mahler, to whom he ultimately lost his lover Alma Schindler, who later described him as a “short, ugly gnome.” Sung in French and German with German surtitles Image credit: © Wilfried Hösl Martyn Brabbins, Conductor Grzegorz Jarzyna, Director Magdalena Maria Maciejewska, Set Designer Mélody Louledjian, Soprano: Fire Eri Nakamura, Soprano: Mouse Mélody Louledjian, Soprano: Nightingale Iulia Maria Dan, Soprano: Owl Hanna-Elisabeth Müller, Soprano: Princess Eri Nakamura, Soprano: Shepherdess Yulia Sokolik, Mezzo-soprano: Cat (female) Okka von der Damerau, Mezzo-soprano: China Cup/Mezzo-soprano: Mother Laura Tatulescu, Soprano: The Child Kevin Conners, Tenor: Wedgwood teapot Christian Rieger, Bass: Tree Jennifer Borghi, Mezzo-soprano: Clock Hanna-Elisabeth Müller, Soprano: Donna Clara Irmgard Vilsmaier, Soprano: Ghita John Daszak, Tenor: Dwarf Paul Gay, Bass-baritone: Don Estoban | ||
| Sunday 27-Oct-13 06:00pm |
National Theatre, Munich L'enfant et les sortilèges, Der Zwerg (The Dwarf) |
Bavarian State Opera Martyn Brabbins, Conductor Grzegorz Jarzyna, Director Magdalena Maria Maciejewska, Set Designer Mélody Louledjian, Soprano: Fire Eri Nakamura, Soprano: Mouse Mélody Louledjian, Soprano: Nightingale Iulia Maria Dan, Soprano: Owl Hanna-Elisabeth Müller, Soprano: Princess Eri Nakamura, Soprano: Shepherdess Yulia Sokolik, Mezzo-soprano: Cat (female) Okka von der Damerau, Mezzo-soprano: China Cup/Mezzo-soprano: Mother Laura Tatulescu, Soprano: The Child Kevin Conners, Tenor: Wedgwood teapot Christian Rieger, Bass: Tree Jennifer Borghi, Mezzo-soprano: Clock Hanna-Elisabeth Müller, Soprano: Donna Clara Irmgard Vilsmaier, Soprano: Ghita John Daszak, Tenor: Dwarf Paul Gay, Bass-baritone: Don Estoban |
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| National Theatre, Munich, Munich, Germany Sunday 27-Oct-13 06:00pm L'enfant et les sortilèges, Der Zwerg (The Dwarf) In the first opera: the child who stubbornly refuses to do his homework and spitefully trashes his room suddenly watches objects come to life, inimically turned against him because of his hostility toward them. The furniture dances, the fire in the fireplace chases the child around, the numbers from his arithmetic book swirl about. Not until the child lovingly bandages the wounds of an injured squirrel on the lawn do the objects forgive him.
In the second: a dwarf looks forward to being allowed to congratulate the princess personally on her birthday, not suspecting that his function is simply to display his ugliness for the amusement of the party guests. Until now, he had never seen himself in the mirror, which is why he was captivated by his love for the princess. As he finally catches a glimpse of his mirror image, he suddenly becomes aware of the dirty trick that was played on him and sinks down dead. Sidonie Gabrielle Colette and Oscar Wilde wrote two totally different stories, both of which reveal how brutally people can treat one another. In Maurice Ravel’s score, jazz, operetta tunes and exotic themes blend together to form an enchanting fantasy world. The Viennese composer Alexander Zemlinsky had a close personal and artistic connection with Gustav Mahler, to whom he ultimately lost his lover Alma Schindler, who later described him as a “short, ugly gnome.” Sung in French and German with German surtitles Image credit: © Wilfried Hösl Martyn Brabbins, Conductor Grzegorz Jarzyna, Director Magdalena Maria Maciejewska, Set Designer Mélody Louledjian, Soprano: Fire Eri Nakamura, Soprano: Mouse Mélody Louledjian, Soprano: Nightingale Iulia Maria Dan, Soprano: Owl Hanna-Elisabeth Müller, Soprano: Princess Eri Nakamura, Soprano: Shepherdess Yulia Sokolik, Mezzo-soprano: Cat (female) Okka von der Damerau, Mezzo-soprano: China Cup/Mezzo-soprano: Mother Laura Tatulescu, Soprano: The Child Kevin Conners, Tenor: Wedgwood teapot Christian Rieger, Bass: Tree Jennifer Borghi, Mezzo-soprano: Clock Hanna-Elisabeth Müller, Soprano: Donna Clara Irmgard Vilsmaier, Soprano: Ghita John Daszak, Tenor: Dwarf Paul Gay, Bass-baritone: Don Estoban | ||
| Monday 28-Oct-13 07:00pm |
National Theatre, Munich Così fan tutte |
Bavarian State Opera Mark Wigglesworth, Conductor Dieter Dorn, Director Jürgen Rose, Set Designer Laura Tatulescu, Soprano: Despina Malin Byström, Soprano: Fiordiligi Angela Brower, Mezzo-soprano: Dorabella Charles Castronovo, Tenor: Ferrando Luca Tittoto, Baritone: Don Alfonso Alessio Arduini, Baritone: Guglielmo |
 Wilfried Hösl.jpg "Image credit: © Wilfried Hösl") | ||
| National Theatre, Munich, Munich, Germany Monday 28-Oct-13 07:00pm That's not how they all do it!! "This" Così is a jewel of the Mozart repertoire at the Bavarian State Opera! Dieter Dorn's production clearly points up the bitter story of two couples beyond their depth in a hazardous game of partner swapping and partner deception.
In Italian with German surtitles Image credit: © Wilfried Hösl Mark Wigglesworth, Conductor Dieter Dorn, Director Jürgen Rose, Set Designer Laura Tatulescu, Soprano: Despina Malin Byström, Soprano: Fiordiligi Angela Brower, Mezzo-soprano: Dorabella Charles Castronovo, Tenor: Ferrando Luca Tittoto, Baritone: Don Alfonso Alessio Arduini, Baritone: Guglielmo | ||
| Tuesday 29-Oct-13 07:00pm |
National Theatre, Munich Rusalka |
Bavarian State Opera Tomas Hanus, Conductor Martin Kusej, Director Martin Zehetgruber, Set Designer Heike Grötzinger, Mezzo-soprano: Foreign Princess Kristine Opolais, Soprano: Rusalka Helena Zubanovich, Mezzo-soprano: Jezibaba, the Witch Yulia Sokolik, Mezzo-soprano: Kitchen Boy Ulrich Ress, Tenor: Gamekeeper Dmytro Popov, Tenor: Prince Alina Buratti, Soprano: The Hunter Georg Zeppenfeld, Bass: Vodnik, the water goblin |
 Wilfried Hösl.jpg) | ||
| National Theatre, Munich, Munich, Germany Tuesday 29-Oct-13 07:00pm Rusalka feels trapped in a world from which there is no escape. She is ready to put her immortality on the line in return for a human soul, so she can gain the love of a handsome prince. But she must pay for it with her voice. Muted and liberated from her dark world, she is forced to watch as the prince rejects her in favor of a foreign princess – dooming them both. She cannot live, she cannot die, yet nevertheless at the end, she helps the prince find his death with a “rescuing” kiss.
In their opera Rusalka, which premièred in 1901, Antonin Dvořák and his librettist Jaroslav Kvapil mixed the Slavic myth of the undead vengeful woman from the water with such storybook characters as Friedrich de la Motte Fouqué’s Undine and Hans Christian Andersen’s Little Mermaid. The fascinating musical worlds, the lyrical and highly dramatic moments came together to make Rusalka one of the most successful Czech operas ever written. Sung in Czech with German surtitles Tomas Hanus, Conductor Martin Kusej, Director Martin Zehetgruber, Set Designer Heike Grötzinger, Mezzo-soprano: Foreign Princess Kristine Opolais, Soprano: Rusalka Helena Zubanovich, Mezzo-soprano: Jezibaba, the Witch Yulia Sokolik, Mezzo-soprano: Kitchen Boy Ulrich Ress, Tenor: Gamekeeper Dmytro Popov, Tenor: Prince Alina Buratti, Soprano: The Hunter Georg Zeppenfeld, Bass: Vodnik, the water goblin | ||
| Thursday 31-Oct-13 07:00pm |
National Theatre, Munich Così fan tutte |
Bavarian State Opera Mark Wigglesworth, Conductor Dieter Dorn, Director Jürgen Rose, Set Designer Laura Tatulescu, Soprano: Despina Malin Byström, Soprano: Fiordiligi Angela Brower, Mezzo-soprano: Dorabella Charles Castronovo, Tenor: Ferrando Luca Tittoto, Baritone: Don Alfonso Alessio Arduini, Baritone: Guglielmo |
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| National Theatre, Munich, Munich, Germany Thursday 31-Oct-13 07:00pm That's not how they all do it!! "This" Così is a jewel of the Mozart repertoire at the Bavarian State Opera! Dieter Dorn's production clearly points up the bitter story of two couples beyond their depth in a hazardous game of partner swapping and partner deception.
In Italian with German surtitles Image credit: © Wilfried Hösl Mark Wigglesworth, Conductor Dieter Dorn, Director Jürgen Rose, Set Designer Laura Tatulescu, Soprano: Despina Malin Byström, Soprano: Fiordiligi Angela Brower, Mezzo-soprano: Dorabella Charles Castronovo, Tenor: Ferrando Luca Tittoto, Baritone: Don Alfonso Alessio Arduini, Baritone: Guglielmo | ||
