Performer: Anja HarterosFrom today| Date | Event | Composers, Works, Performers |
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| Saturday 25-May-13 |
 Royal Opera House, Covent Garden, LondonDon Carlo |
Royal Opera Sir Antonio Pappano, Conductor Nicholas Hytner, Director Jonas Kaufmann, Tenor: Don Carlos Anja Harteros, Soprano: Elisabeth of Valois, Queen of Spain Mariusz Kwiecien, Baritone: Rodrigo, Marquis of Posa Béatrice Uria-Monzon, Mezzo-soprano: Princess Eboli Ferruccio Furlanetto, Bass: Philippe II, King of Spain Eric Halfvarson, Bass: Grand Inquisitor |
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| Royal Opera House, Covent Garden, London, Bow Street,, Covent Garden, London WC2E 9DD, United Kingdom Saturday 25-May-13 Sung in Italian. Sir Antonio Pappano, Conductor Nicholas Hytner, Director Jonas Kaufmann, Tenor: Don Carlos Anja Harteros, Soprano: Elisabeth of Valois, Queen of Spain Mariusz Kwiecien, Baritone: Rodrigo, Marquis of Posa Béatrice Uria-Monzon, Mezzo-soprano: Princess Eboli Ferruccio Furlanetto, Bass: Philippe II, King of Spain Eric Halfvarson, Bass: Grand Inquisitor | ||
| Monday 8-Jul-13 07:00pm |
National Theatre, Munich Il trovatore Munich Opera Festival |
Paolo Carignani, Conductor Olivier Py, Director Alexei Markov, Baritone: The Count Di Luna Anja Harteros, Soprano: Leonora Elena Manistina, Mezzo-soprano: Azucena Jonas Kaufmann, Tenor: Manrico Kwangchul Youn, Bass: Ferrando Golda Schultz, Soprano: Ines |
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| National Theatre, Munich, Munich, Germany Monday 8-Jul-13 07:00pm "If you travel to India and to Central Africa, you'll hear Trovatore.“ Nine years after the triumphant first performance, Verdi's opera had achieved the worldwide popularity that moved the composer to make this comment. The fabric of the opera could hardly be more gloomy: a gypsy who wishes to avenge the death of her mother at the stake, a count who wishes to use the execution of this gypsy to strike at his rival; a horrifying truth that is revealed at the moment of death. All the ingredients of Verdi's dramatic abundance appear here: mysterious sound worlds, harsh contrasts, vocal brilliance, opulent tableaux. The cohesive narrative style gives way to the variation of suggestive musical images with which Verdi served "the most important part of the drama“: revenge.In Italian with German surtitles.Paolo Carignani, Conductor Olivier Py, Director Alexei Markov, Baritone: The Count Di Luna Anja Harteros, Soprano: Leonora Elena Manistina, Mezzo-soprano: Azucena Jonas Kaufmann, Tenor: Manrico Kwangchul Youn, Bass: Ferrando Golda Schultz, Soprano: Ines | ||
| 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 | ||
| 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 | ||
| 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 | ||
| Thursday 31-Oct-13 07:00pm |
Deutsche Oper, Berlin Don Carlos |
Deutsche Oper Berlin Donald Runnicles, Conductor Marco Arturo Marelli, Director Dagmar Niefind, Set Designer Anja Harteros, Soprano: Elisabeth of Valois, Queen of Spain Alexandra Hutton, Soprano: Thibault Violeta Urmana, Soprano: Princess Eboli Russell Thomas, Tenor: Don Carlos Alvaro Zambrano, Tenor: The Count of Lerma Dalibor Jenis, Baritone: Rodrigo, Marquis of Posa Tobias Kehrer, Bass: A Monk Paata Burchuladze, Bass: Grand Inquisitor Hans-Peter König, Bass: Philippe II, King of Spain |
-Barbara-Aumüller.jpg "Image credit: Barbara Aumüller") | ||
| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Thursday 31-Oct-13 07:00pm It is common knowledge that Giuseppe Verdi, by nature a critical man, not only found much to disapprove of in the trends of his day but also subjected his own work to a continuous process of editing and revision.
In Italian language with German surtitles. None of his operas did he alter, abridge, rearrange or rewrite more intensely than his grimmest work of all – DON CARLO -, whose web of political, religious and social constraints is most reminiscent of the inescapability of destiny associated with Greek drama. Verdi began writing the opera in 1865, and twenty years were to pass before the premiere in Milan of the four-act version that we are most familiar with today. The composer not only wrestled with the two languages of the piece, each with its distinctive form of expression. He was also at pains to achieve the best possible result by repeatedly cutting, reducing and rearranging. The opera, extensive sections of which are faithful to Schiller’s play, went through no less than seven versions. In none of the opera’s characters does the light of reason sparkle. Prisoners of their situations, prisoners of their own reins of control and of their own making, above all prisoners of a deadly, ever-looming spiritual power greater even than secular hegemony… Verdi captures the essential helplessness of human beings entangled in this network of terror: at best, death brings release. Image credit: Barbara Aumüller Donald Runnicles, Conductor Marco Arturo Marelli, Director Dagmar Niefind, Set Designer Anja Harteros, Soprano: Elisabeth of Valois, Queen of Spain Alexandra Hutton, Soprano: Thibault Violeta Urmana, Soprano: Princess Eboli Russell Thomas, Tenor: Don Carlos Alvaro Zambrano, Tenor: The Count of Lerma Dalibor Jenis, Baritone: Rodrigo, Marquis of Posa Tobias Kehrer, Bass: A Monk Paata Burchuladze, Bass: Grand Inquisitor Hans-Peter König, Bass: Philippe II, King of Spain | ||
| Thursday 7-Nov-13 07:00pm |
Deutsche Oper, Berlin Don Carlos |
Deutsche Oper Berlin Donald Runnicles, Conductor Marco Arturo Marelli, Director Dagmar Niefind, Set Designer Anja Harteros, Soprano: Elisabeth of Valois, Queen of Spain Alexandra Hutton, Soprano: Thibault Violeta Urmana, Soprano: Princess Eboli Russell Thomas, Tenor: Don Carlos Alvaro Zambrano, Tenor: The Count of Lerma Dalibor Jenis, Baritone: Rodrigo, Marquis of Posa Tobias Kehrer, Bass: A Monk Paata Burchuladze, Bass: Grand Inquisitor Hans-Peter König, Bass: Philippe II, King of Spain |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Thursday 7-Nov-13 07:00pm It is common knowledge that Giuseppe Verdi, by nature a critical man, not only found much to disapprove of in the trends of his day but also subjected his own work to a continuous process of editing and revision.
In Italian language with German surtitles. None of his operas did he alter, abridge, rearrange or rewrite more intensely than his grimmest work of all – DON CARLO -, whose web of political, religious and social constraints is most reminiscent of the inescapability of destiny associated with Greek drama. Verdi began writing the opera in 1865, and twenty years were to pass before the premiere in Milan of the four-act version that we are most familiar with today. The composer not only wrestled with the two languages of the piece, each with its distinctive form of expression. He was also at pains to achieve the best possible result by repeatedly cutting, reducing and rearranging. The opera, extensive sections of which are faithful to Schiller’s play, went through no less than seven versions. In none of the opera’s characters does the light of reason sparkle. Prisoners of their situations, prisoners of their own reins of control and of their own making, above all prisoners of a deadly, ever-looming spiritual power greater even than secular hegemony… Verdi captures the essential helplessness of human beings entangled in this network of terror: at best, death brings release. Image credit: Barbara Aumüller Donald Runnicles, Conductor Marco Arturo Marelli, Director Dagmar Niefind, Set Designer Anja Harteros, Soprano: Elisabeth of Valois, Queen of Spain Alexandra Hutton, Soprano: Thibault Violeta Urmana, Soprano: Princess Eboli Russell Thomas, Tenor: Don Carlos Alvaro Zambrano, Tenor: The Count of Lerma Dalibor Jenis, Baritone: Rodrigo, Marquis of Posa Tobias Kehrer, Bass: A Monk Paata Burchuladze, Bass: Grand Inquisitor Hans-Peter König, Bass: Philippe II, King of Spain | ||
| Sunday 10-Nov-13 05:00pm |
Deutsche Oper, Berlin Don Carlos |
Deutsche Oper Berlin Donald Runnicles, Conductor Marco Arturo Marelli, Director Dagmar Niefind, Set Designer Anja Harteros, Soprano: Elisabeth of Valois, Queen of Spain Alexandra Hutton, Soprano: Thibault Violeta Urmana, Soprano: Princess Eboli Russell Thomas, Tenor: Don Carlos Alvaro Zambrano, Tenor: The Count of Lerma Dalibor Jenis, Baritone: Rodrigo, Marquis of Posa Tobias Kehrer, Bass: A Monk Albert Pesendorfer, Bass: Grand Inquisitor Hans-Peter König, Bass: Philippe II, King of Spain |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Sunday 10-Nov-13 05:00pm It is common knowledge that Giuseppe Verdi, by nature a critical man, not only found much to disapprove of in the trends of his day but also subjected his own work to a continuous process of editing and revision.
In Italian language with German surtitles. None of his operas did he alter, abridge, rearrange or rewrite more intensely than his grimmest work of all – DON CARLO -, whose web of political, religious and social constraints is most reminiscent of the inescapability of destiny associated with Greek drama. Verdi began writing the opera in 1865, and twenty years were to pass before the premiere in Milan of the four-act version that we are most familiar with today. The composer not only wrestled with the two languages of the piece, each with its distinctive form of expression. He was also at pains to achieve the best possible result by repeatedly cutting, reducing and rearranging. The opera, extensive sections of which are faithful to Schiller’s play, went through no less than seven versions. In none of the opera’s characters does the light of reason sparkle. Prisoners of their situations, prisoners of their own reins of control and of their own making, above all prisoners of a deadly, ever-looming spiritual power greater even than secular hegemony… Verdi captures the essential helplessness of human beings entangled in this network of terror: at best, death brings release. Image credit: Barbara Aumüller Donald Runnicles, Conductor Marco Arturo Marelli, Director Dagmar Niefind, Set Designer Anja Harteros, Soprano: Elisabeth of Valois, Queen of Spain Alexandra Hutton, Soprano: Thibault Violeta Urmana, Soprano: Princess Eboli Russell Thomas, Tenor: Don Carlos Alvaro Zambrano, Tenor: The Count of Lerma Dalibor Jenis, Baritone: Rodrigo, Marquis of Posa Tobias Kehrer, Bass: A Monk Albert Pesendorfer, Bass: Grand Inquisitor Hans-Peter König, Bass: Philippe II, King of Spain | ||
| Saturday 16-Nov-13 06:00pm |
Deutsche Oper, Berlin Don Carlos |
Deutsche Oper Berlin Donald Runnicles, Conductor Marco Arturo Marelli, Director Dagmar Niefind, Set Designer Anja Harteros, Soprano: Elisabeth of Valois, Queen of Spain Alexandra Hutton, Soprano: Thibault Violeta Urmana, Soprano: Princess Eboli Russell Thomas, Tenor: Don Carlos Alvaro Zambrano, Tenor: The Count of Lerma Dalibor Jenis, Baritone: Rodrigo, Marquis of Posa Tobias Kehrer, Bass: A Monk Albert Pesendorfer, Bass: Grand Inquisitor Hans-Peter König, Bass: Philippe II, King of Spain |
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| Deutsche Oper, Berlin, Bismarckstraße 35, Berlin, Germany Saturday 16-Nov-13 06:00pm It is common knowledge that Giuseppe Verdi, by nature a critical man, not only found much to disapprove of in the trends of his day but also subjected his own work to a continuous process of editing and revision.
In Italian language with German surtitles. None of his operas did he alter, abridge, rearrange or rewrite more intensely than his grimmest work of all – DON CARLO -, whose web of political, religious and social constraints is most reminiscent of the inescapability of destiny associated with Greek drama. Verdi began writing the opera in 1865, and twenty years were to pass before the premiere in Milan of the four-act version that we are most familiar with today. The composer not only wrestled with the two languages of the piece, each with its distinctive form of expression. He was also at pains to achieve the best possible result by repeatedly cutting, reducing and rearranging. The opera, extensive sections of which are faithful to Schiller’s play, went through no less than seven versions. In none of the opera’s characters does the light of reason sparkle. Prisoners of their situations, prisoners of their own reins of control and of their own making, above all prisoners of a deadly, ever-looming spiritual power greater even than secular hegemony… Verdi captures the essential helplessness of human beings entangled in this network of terror: at best, death brings release. Image credit: Barbara Aumüller Donald Runnicles, Conductor Marco Arturo Marelli, Director Dagmar Niefind, Set Designer Anja Harteros, Soprano: Elisabeth of Valois, Queen of Spain Alexandra Hutton, Soprano: Thibault Violeta Urmana, Soprano: Princess Eboli Russell Thomas, Tenor: Don Carlos Alvaro Zambrano, Tenor: The Count of Lerma Dalibor Jenis, Baritone: Rodrigo, Marquis of Posa Tobias Kehrer, Bass: A Monk Albert Pesendorfer, Bass: Grand Inquisitor Hans-Peter König, Bass: Philippe II, King of Spain | ||
| Sunday 22-Dec-13 06:00pm |
National Theatre, Munich La Forza del Destino (The Force of Destiny) |
Bavarian State Opera Asher Fisch, Conductor Martin Kusej, Director Martin Zehetgruber, Set Designer Anja Harteros, Soprano: Leonora Nadia Krasteva, Mezzo-soprano: Preziosilla Jonas Kaufmann, Tenor: Don Alvaro Ludovic Tézier, Baritone: Don Carlo Vitalij Kowaljow, Bass: Padre Guardiano Francesco Petrozzi, Tenor: Trabuco Renato Girolami, Bass: Fra Melitone Vitalij Kowaljow, Bass: Marquis of Calatrava |
 Wilfried Hösl.jpg "Image credit: © Wilfried Hösl") | ||
| National Theatre, Munich, Munich, Germany Sunday 22-Dec-13 06:00pm Second version adapted 1869
La forza del destino – what is the meaning of the destiny that Verdi uses so forcefully for the title of this family tale of various outlaws in his opera of 1862, revised in 1869? Who forces Leonora, and Alvaro as the murderer of her father, to enter the hermitage of a monastery – and confronts them there, in a mighty showdown, with the brother who is full of hatred and cannot forgive? Is it a declaration of war against God's promise of redemption? The heavenly cantilena of a solo violin rises at the end of the opera – in the face of the death of the hero's lover and brother. Those who withdraw into the consoling twilight of a divine peace here are only trying to deny one thing: the force of destiny. In Italian with German surtitles Image credit: © Wilfried Hösl Asher Fisch, Conductor Martin Kusej, Director Martin Zehetgruber, Set Designer Anja Harteros, Soprano: Leonora Nadia Krasteva, Mezzo-soprano: Preziosilla Jonas Kaufmann, Tenor: Don Alvaro Ludovic Tézier, Baritone: Don Carlo Vitalij Kowaljow, Bass: Padre Guardiano Francesco Petrozzi, Tenor: Trabuco Renato Girolami, Bass: Fra Melitone Vitalij Kowaljow, Bass: Marquis of Calatrava | ||
| Wednesday 25-Dec-13 06:00pm |
National Theatre, Munich La Forza del Destino (The Force of Destiny) |
Bavarian State Opera Asher Fisch, Conductor Martin Kusej, Director Martin Zehetgruber, Set Designer Anja Harteros, Soprano: Leonora Nadia Krasteva, Mezzo-soprano: Preziosilla Jonas Kaufmann, Tenor: Don Alvaro Ludovic Tézier, Baritone: Don Carlo Vitalij Kowaljow, Bass: Padre Guardiano Francesco Petrozzi, Tenor: Trabuco Renato Girolami, Bass: Fra Melitone Vitalij Kowaljow, Bass: Marquis of Calatrava |
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| National Theatre, Munich, Munich, Germany Wednesday 25-Dec-13 06:00pm Second version adapted 1869
La forza del destino – what is the meaning of the destiny that Verdi uses so forcefully for the title of this family tale of various outlaws in his opera of 1862, revised in 1869? Who forces Leonora, and Alvaro as the murderer of her father, to enter the hermitage of a monastery – and confronts them there, in a mighty showdown, with the brother who is full of hatred and cannot forgive? Is it a declaration of war against God's promise of redemption? The heavenly cantilena of a solo violin rises at the end of the opera – in the face of the death of the hero's lover and brother. Those who withdraw into the consoling twilight of a divine peace here are only trying to deny one thing: the force of destiny. In Italian with German surtitles Image credit: © Wilfried Hösl Asher Fisch, Conductor Martin Kusej, Director Martin Zehetgruber, Set Designer Anja Harteros, Soprano: Leonora Nadia Krasteva, Mezzo-soprano: Preziosilla Jonas Kaufmann, Tenor: Don Alvaro Ludovic Tézier, Baritone: Don Carlo Vitalij Kowaljow, Bass: Padre Guardiano Francesco Petrozzi, Tenor: Trabuco Renato Girolami, Bass: Fra Melitone Vitalij Kowaljow, Bass: Marquis of Calatrava | ||
| Saturday 28-Dec-13 06:00pm |
National Theatre, Munich La Forza del Destino (The Force of Destiny) |
Bavarian State Opera Asher Fisch, Conductor Martin Kusej, Director Martin Zehetgruber, Set Designer Anja Harteros, Soprano: Leonora Nadia Krasteva, Mezzo-soprano: Preziosilla Jonas Kaufmann, Tenor: Don Alvaro Ludovic Tézier, Baritone: Don Carlo Vitalij Kowaljow, Bass: Padre Guardiano Francesco Petrozzi, Tenor: Trabuco Renato Girolami, Bass: Fra Melitone Vitalij Kowaljow, Bass: Marquis of Calatrava |
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| National Theatre, Munich, Munich, Germany Saturday 28-Dec-13 06:00pm Second version adapted 1869
La forza del destino – what is the meaning of the destiny that Verdi uses so forcefully for the title of this family tale of various outlaws in his opera of 1862, revised in 1869? Who forces Leonora, and Alvaro as the murderer of her father, to enter the hermitage of a monastery – and confronts them there, in a mighty showdown, with the brother who is full of hatred and cannot forgive? Is it a declaration of war against God's promise of redemption? The heavenly cantilena of a solo violin rises at the end of the opera – in the face of the death of the hero's lover and brother. Those who withdraw into the consoling twilight of a divine peace here are only trying to deny one thing: the force of destiny. In Italian with German surtitles Image credit: © Wilfried Hösl Asher Fisch, Conductor Martin Kusej, Director Martin Zehetgruber, Set Designer Anja Harteros, Soprano: Leonora Nadia Krasteva, Mezzo-soprano: Preziosilla Jonas Kaufmann, Tenor: Don Alvaro Ludovic Tézier, Baritone: Don Carlo Vitalij Kowaljow, Bass: Padre Guardiano Francesco Petrozzi, Tenor: Trabuco Renato Girolami, Bass: Fra Melitone Vitalij Kowaljow, Bass: Marquis of Calatrava | ||
| Thursday 2-Jan-14 07:00pm |
National Theatre, Munich La Forza del Destino (The Force of Destiny) |
Bavarian State Opera Asher Fisch, Conductor Martin Kusej, Director Martin Zehetgruber, Set Designer Anja Harteros, Soprano: Leonora Nadia Krasteva, Mezzo-soprano: Preziosilla Jonas Kaufmann, Tenor: Don Alvaro Ludovic Tézier, Baritone: Don Carlo Vitalij Kowaljow, Bass: Padre Guardiano Francesco Petrozzi, Tenor: Trabuco Renato Girolami, Bass: Fra Melitone Vitalij Kowaljow, Bass: Marquis of Calatrava |
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| National Theatre, Munich, Munich, Germany Thursday 2-Jan-14 07:00pm Second version adapted 1869
La forza del destino – what is the meaning of the destiny that Verdi uses so forcefully for the title of this family tale of various outlaws in his opera of 1862, revised in 1869? Who forces Leonora, and Alvaro as the murderer of her father, to enter the hermitage of a monastery – and confronts them there, in a mighty showdown, with the brother who is full of hatred and cannot forgive? Is it a declaration of war against God's promise of redemption? The heavenly cantilena of a solo violin rises at the end of the opera – in the face of the death of the hero's lover and brother. Those who withdraw into the consoling twilight of a divine peace here are only trying to deny one thing: the force of destiny. In Italian with German surtitles Image credit: © Wilfried Hösl Asher Fisch, Conductor Martin Kusej, Director Martin Zehetgruber, Set Designer Anja Harteros, Soprano: Leonora Nadia Krasteva, Mezzo-soprano: Preziosilla Jonas Kaufmann, Tenor: Don Alvaro Ludovic Tézier, Baritone: Don Carlo Vitalij Kowaljow, Bass: Padre Guardiano Francesco Petrozzi, Tenor: Trabuco Renato Girolami, Bass: Fra Melitone Vitalij Kowaljow, Bass: Marquis of Calatrava | ||
| Sunday 5-Jan-14 06:00pm |
National Theatre, Munich La Forza del Destino (The Force of Destiny) |
Bavarian State Opera Asher Fisch, Conductor Martin Kusej, Director Martin Zehetgruber, Set Designer Anja Harteros, Soprano: Leonora Nadia Krasteva, Mezzo-soprano: Preziosilla Jonas Kaufmann, Tenor: Don Alvaro Ludovic Tézier, Baritone: Don Carlo Vitalij Kowaljow, Bass: Padre Guardiano Francesco Petrozzi, Tenor: Trabuco Renato Girolami, Bass: Fra Melitone Vitalij Kowaljow, Bass: Marquis of Calatrava |
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| National Theatre, Munich, Munich, Germany Sunday 5-Jan-14 06:00pm Second version adapted 1869
La forza del destino – what is the meaning of the destiny that Verdi uses so forcefully for the title of this family tale of various outlaws in his opera of 1862, revised in 1869? Who forces Leonora, and Alvaro as the murderer of her father, to enter the hermitage of a monastery – and confronts them there, in a mighty showdown, with the brother who is full of hatred and cannot forgive? Is it a declaration of war against God's promise of redemption? The heavenly cantilena of a solo violin rises at the end of the opera – in the face of the death of the hero's lover and brother. Those who withdraw into the consoling twilight of a divine peace here are only trying to deny one thing: the force of destiny. In Italian with German surtitles Image credit: © Wilfried Hösl Asher Fisch, Conductor Martin Kusej, Director Martin Zehetgruber, Set Designer Anja Harteros, Soprano: Leonora Nadia Krasteva, Mezzo-soprano: Preziosilla Jonas Kaufmann, Tenor: Don Alvaro Ludovic Tézier, Baritone: Don Carlo Vitalij Kowaljow, Bass: Padre Guardiano Francesco Petrozzi, Tenor: Trabuco Renato Girolami, Bass: Fra Melitone Vitalij Kowaljow, Bass: Marquis of Calatrava | ||
| Wednesday 8-Jan-14 07:00pm |
National Theatre, Munich La Forza del Destino (The Force of Destiny) |
Bavarian State Opera Asher Fisch, Conductor Martin Kusej, Director Martin Zehetgruber, Set Designer Anja Harteros, Soprano: Leonora Nadia Krasteva, Mezzo-soprano: Preziosilla Jonas Kaufmann, Tenor: Don Alvaro Ludovic Tézier, Baritone: Don Carlo Vitalij Kowaljow, Bass: Padre Guardiano Francesco Petrozzi, Tenor: Trabuco Renato Girolami, Bass: Fra Melitone Vitalij Kowaljow, Bass: Marquis of Calatrava |
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| National Theatre, Munich, Munich, Germany Wednesday 8-Jan-14 07:00pm Second version adapted 1869
La forza del destino – what is the meaning of the destiny that Verdi uses so forcefully for the title of this family tale of various outlaws in his opera of 1862, revised in 1869? Who forces Leonora, and Alvaro as the murderer of her father, to enter the hermitage of a monastery – and confronts them there, in a mighty showdown, with the brother who is full of hatred and cannot forgive? Is it a declaration of war against God's promise of redemption? The heavenly cantilena of a solo violin rises at the end of the opera – in the face of the death of the hero's lover and brother. Those who withdraw into the consoling twilight of a divine peace here are only trying to deny one thing: the force of destiny. In Italian with German surtitles Image credit: © Wilfried Hösl Asher Fisch, Conductor Martin Kusej, Director Martin Zehetgruber, Set Designer Anja Harteros, Soprano: Leonora Nadia Krasteva, Mezzo-soprano: Preziosilla Jonas Kaufmann, Tenor: Don Alvaro Ludovic Tézier, Baritone: Don Carlo Vitalij Kowaljow, Bass: Padre Guardiano Francesco Petrozzi, Tenor: Trabuco Renato Girolami, Bass: Fra Melitone Vitalij Kowaljow, Bass: Marquis of Calatrava | ||
| Saturday 11-Jan-14 07:00pm |
National Theatre, Munich La Forza del Destino (The Force of Destiny) |
Bavarian State Opera Asher Fisch, Conductor Martin Kusej, Director Martin Zehetgruber, Set Designer Anja Harteros, Soprano: Leonora Nadia Krasteva, Mezzo-soprano: Preziosilla Jonas Kaufmann, Tenor: Don Alvaro Ludovic Tézier, Baritone: Don Carlo Vitalij Kowaljow, Bass: Padre Guardiano Francesco Petrozzi, Tenor: Trabuco Renato Girolami, Bass: Fra Melitone Vitalij Kowaljow, Bass: Marquis of Calatrava |
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| National Theatre, Munich, Munich, Germany Saturday 11-Jan-14 07:00pm Second version adapted 1869
La forza del destino – what is the meaning of the destiny that Verdi uses so forcefully for the title of this family tale of various outlaws in his opera of 1862, revised in 1869? Who forces Leonora, and Alvaro as the murderer of her father, to enter the hermitage of a monastery – and confronts them there, in a mighty showdown, with the brother who is full of hatred and cannot forgive? Is it a declaration of war against God's promise of redemption? The heavenly cantilena of a solo violin rises at the end of the opera – in the face of the death of the hero's lover and brother. Those who withdraw into the consoling twilight of a divine peace here are only trying to deny one thing: the force of destiny. In Italian with German surtitles Image credit: © Wilfried Hösl Asher Fisch, Conductor Martin Kusej, Director Martin Zehetgruber, Set Designer Anja Harteros, Soprano: Leonora Nadia Krasteva, Mezzo-soprano: Preziosilla Jonas Kaufmann, Tenor: Don Alvaro Ludovic Tézier, Baritone: Don Carlo Vitalij Kowaljow, Bass: Padre Guardiano Francesco Petrozzi, Tenor: Trabuco Renato Girolami, Bass: Fra Melitone Vitalij Kowaljow, Bass: Marquis of Calatrava | ||
| Sunday 13-Apr-14 06:00pm |
Staatsoper at Schiller Theater, Berlin Simon Boccanegra |
Staatsoper Berlin Daniel Barenboim, Conductor Federico Tiezzi, Director Maurizio Balo, Set Designer Anja Harteros, Soprano: Maria Boccanegra (Amelia Grimaldi) Evelin Novak, Soprano: Amelia's maid Fabio Sartori, Tenor: Gabriele Adorno Angel Odena, Baritone: Paolo Albiani Plácido Domingo, Baritone: Simon Boccanegra Dmitry Belosselskiy, Bass: Jacopo Fiesco Jan Martinik, Bass: Pietro Staatskapelle Berlin Staatsopernchor Berlin |
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| Staatsoper at Schiller Theater, Berlin, Bismarckstraße 110, 10625 Berlin, Germany Sunday 13-Apr-14 06:00pm Sung in Italian with German surtitles2:50 h | including 1 interval Co-production with Teatro alla Scala di Milano Daniel Barenboim, Conductor Federico Tiezzi, Director Maurizio Balo, Set Designer Anja Harteros, Soprano: Maria Boccanegra (Amelia Grimaldi) Evelin Novak, Soprano: Amelia's maid Fabio Sartori, Tenor: Gabriele Adorno Angel Odena, Baritone: Paolo Albiani Plácido Domingo, Baritone: Simon Boccanegra Dmitry Belosselskiy, Bass: Jacopo Fiesco Jan Martinik, Bass: Pietro Staatskapelle Berlin Staatsopernchor Berlin | ||
| Thursday 17-Apr-14 07:00pm |
Staatsoper at Schiller Theater, Berlin Simon Boccanegra |
Staatsoper Berlin Daniel Barenboim, Conductor Federico Tiezzi, Director Maurizio Balo, Set Designer Anja Harteros, Soprano: Maria Boccanegra (Amelia Grimaldi) Evelin Novak, Soprano: Amelia's maid Fabio Sartori, Tenor: Gabriele Adorno Angel Odena, Baritone: Paolo Albiani Plácido Domingo, Baritone: Simon Boccanegra Dmitry Belosselskiy, Bass: Jacopo Fiesco Jan Martinik, Bass: Pietro Staatskapelle Berlin Staatsopernchor Berlin |
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| Staatsoper at Schiller Theater, Berlin, Bismarckstraße 110, 10625 Berlin, Germany Thursday 17-Apr-14 07:00pm Sung in Italian with German surtitles2:50 h | including 1 interval Co-production with Teatro alla Scala di Milano Daniel Barenboim, Conductor Federico Tiezzi, Director Maurizio Balo, Set Designer Anja Harteros, Soprano: Maria Boccanegra (Amelia Grimaldi) Evelin Novak, Soprano: Amelia's maid Fabio Sartori, Tenor: Gabriele Adorno Angel Odena, Baritone: Paolo Albiani Plácido Domingo, Baritone: Simon Boccanegra Dmitry Belosselskiy, Bass: Jacopo Fiesco Jan Martinik, Bass: Pietro Staatskapelle Berlin Staatsopernchor Berlin | ||
| Friday 18-Jul-14 07:00pm |
National Theatre, Munich Tosca |
Bavarian State Opera Kirill Petrenko, Conductor Luc Bondy, Director Richard Peduzzi, Set Designer Anja Harteros, Soprano: Floria Tosca Marcelo Álvarez, Tenor: Mario Cavaradossi Francesco Petrozzi, Tenor: Spoletta Željko Lučić, Baritone: Baron Scarpia Goran Juric, Bass: Cesare Angelotti Christoph Stephinger, Bass: Sacristan |
 Wilfried Hösl.jpg "Image credit: © Wilfried Hösl") | ||
| National Theatre, Munich, Munich, Germany Friday 18-Jul-14 07:00pm They are two artists in love: Mario Cavaradossi paints pictures for the Roman clergy but sympathizes with the “repubblica romana” and hides an escaped supporter of that republic in his garden. Floria Tosca makes glowing appearances as a singer at celebrations for opponents of the republic. But her love for Mario is the driving force of her life. He falls victim to the brutal cruelty of the state. Its enforcer, Baron Scarpia, may be driven by political zeal. In the case of Tosca and Mario, though, his motive is jealous lechery. To save Mario’s life, Tosca gives in to Scarpia’s extortive deal.
According to legend, Verdi had wanted to set the sensationalistic French play by Victorien Sardou, with some borrowings from political history, to music, but considered himself too old for the task. Then Puccini couldn’t resist the temptation to take Tosca as an opera plot. He created a music drama all’italiana, a veritable drama of voices and orchestra, which places the inner motivations and acts of the pragmatists, their hopeless entanglements in the machinery of subjugation in stark contrast to the musical naturalism of banal everyday life all around them. Above it all, however, stand the beauty, power and loneliness of the voice, her voice, the voice of Tosca. In Italian with German surtitles Image credit: © Wilfried Hösl Kirill Petrenko, Conductor Luc Bondy, Director Richard Peduzzi, Set Designer Anja Harteros, Soprano: Floria Tosca Marcelo Álvarez, Tenor: Mario Cavaradossi Francesco Petrozzi, Tenor: Spoletta Željko Lučić, Baritone: Baron Scarpia Goran Juric, Bass: Cesare Angelotti Christoph Stephinger, Bass: Sacristan | ||
| Monday 21-Jul-14 07:00pm |
National Theatre, Munich Tosca |
Bavarian State Opera Kirill Petrenko, Conductor Luc Bondy, Director Richard Peduzzi, Set Designer Anja Harteros, Soprano: Floria Tosca Marcelo Álvarez, Tenor: Mario Cavaradossi Francesco Petrozzi, Tenor: Spoletta Željko Lučić, Baritone: Baron Scarpia Goran Juric, Bass: Cesare Angelotti Christoph Stephinger, Bass: Sacristan |
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| National Theatre, Munich, Munich, Germany Monday 21-Jul-14 07:00pm They are two artists in love: Mario Cavaradossi paints pictures for the Roman clergy but sympathizes with the “repubblica romana” and hides an escaped supporter of that republic in his garden. Floria Tosca makes glowing appearances as a singer at celebrations for opponents of the republic. But her love for Mario is the driving force of her life. He falls victim to the brutal cruelty of the state. Its enforcer, Baron Scarpia, may be driven by political zeal. In the case of Tosca and Mario, though, his motive is jealous lechery. To save Mario’s life, Tosca gives in to Scarpia’s extortive deal.
According to legend, Verdi had wanted to set the sensationalistic French play by Victorien Sardou, with some borrowings from political history, to music, but considered himself too old for the task. Then Puccini couldn’t resist the temptation to take Tosca as an opera plot. He created a music drama all’italiana, a veritable drama of voices and orchestra, which places the inner motivations and acts of the pragmatists, their hopeless entanglements in the machinery of subjugation in stark contrast to the musical naturalism of banal everyday life all around them. Above it all, however, stand the beauty, power and loneliness of the voice, her voice, the voice of Tosca. In Italian with German surtitles Image credit: © Wilfried Hösl Kirill Petrenko, Conductor Luc Bondy, Director Richard Peduzzi, Set Designer Anja Harteros, Soprano: Floria Tosca Marcelo Álvarez, Tenor: Mario Cavaradossi Francesco Petrozzi, Tenor: Spoletta Željko Lučić, Baritone: Baron Scarpia Goran Juric, Bass: Cesare Angelotti Christoph Stephinger, Bass: Sacristan | ||
| Friday 25-Jul-14 06:00pm |
National Theatre, Munich La Forza del Destino (The Force of Destiny) |
Bavarian State Opera Asher Fisch, Conductor Martin Kusej, Director Martin Zehetgruber, Set Designer Anja Harteros, Soprano: Leonora Nadia Krasteva, Mezzo-soprano: Preziosilla Jonas Kaufmann, Tenor: Don Alvaro Ludovic Tézier, Baritone: Don Carlo Vitalij Kowaljow, Bass: Padre Guardiano Francesco Petrozzi, Tenor: Trabuco Renato Girolami, Bass: Fra Melitone Vitalij Kowaljow, Bass: Marquis of Calatrava |
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| National Theatre, Munich, Munich, Germany Friday 25-Jul-14 06:00pm Second version adapted 1869
La forza del destino – what is the meaning of the destiny that Verdi uses so forcefully for the title of this family tale of various outlaws in his opera of 1862, revised in 1869? Who forces Leonora, and Alvaro as the murderer of her father, to enter the hermitage of a monastery – and confronts them there, in a mighty showdown, with the brother who is full of hatred and cannot forgive? Is it a declaration of war against God's promise of redemption? The heavenly cantilena of a solo violin rises at the end of the opera – in the face of the death of the hero's lover and brother. Those who withdraw into the consoling twilight of a divine peace here are only trying to deny one thing: the force of destiny. In Italian with German surtitles Image credit: © Wilfried Hösl Asher Fisch, Conductor Martin Kusej, Director Martin Zehetgruber, Set Designer Anja Harteros, Soprano: Leonora Nadia Krasteva, Mezzo-soprano: Preziosilla Jonas Kaufmann, Tenor: Don Alvaro Ludovic Tézier, Baritone: Don Carlo Vitalij Kowaljow, Bass: Padre Guardiano Francesco Petrozzi, Tenor: Trabuco Renato Girolami, Bass: Fra Melitone Vitalij Kowaljow, Bass: Marquis of Calatrava | ||
| Monday 28-Jul-14 06:00pm |
National Theatre, Munich La Forza del Destino (The Force of Destiny) |
Bavarian State Opera Asher Fisch, Conductor Martin Kusej, Director Martin Zehetgruber, Set Designer Anja Harteros, Soprano: Leonora Nadia Krasteva, Mezzo-soprano: Preziosilla Jonas Kaufmann, Tenor: Don Alvaro Ludovic Tézier, Baritone: Don Carlo Vitalij Kowaljow, Bass: Padre Guardiano Francesco Petrozzi, Tenor: Trabuco Renato Girolami, Bass: Fra Melitone Vitalij Kowaljow, Bass: Marquis of Calatrava |
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| National Theatre, Munich, Munich, Germany Monday 28-Jul-14 06:00pm Second version adapted 1869
La forza del destino – what is the meaning of the destiny that Verdi uses so forcefully for the title of this family tale of various outlaws in his opera of 1862, revised in 1869? Who forces Leonora, and Alvaro as the murderer of her father, to enter the hermitage of a monastery – and confronts them there, in a mighty showdown, with the brother who is full of hatred and cannot forgive? Is it a declaration of war against God's promise of redemption? The heavenly cantilena of a solo violin rises at the end of the opera – in the face of the death of the hero's lover and brother. Those who withdraw into the consoling twilight of a divine peace here are only trying to deny one thing: the force of destiny. In Italian with German surtitles Image credit: © Wilfried Hösl Asher Fisch, Conductor Martin Kusej, Director Martin Zehetgruber, Set Designer Anja Harteros, Soprano: Leonora Nadia Krasteva, Mezzo-soprano: Preziosilla Jonas Kaufmann, Tenor: Don Alvaro Ludovic Tézier, Baritone: Don Carlo Vitalij Kowaljow, Bass: Padre Guardiano Francesco Petrozzi, Tenor: Trabuco Renato Girolami, Bass: Fra Melitone Vitalij Kowaljow, Bass: Marquis of Calatrava | ||
| Thursday 31-Jul-14 06:00pm |
National Theatre, Munich La Forza del Destino (The Force of Destiny) |
Bavarian State Opera Asher Fisch, Conductor Martin Kusej, Director Martin Zehetgruber, Set Designer Anja Harteros, Soprano: Leonora Nadia Krasteva, Mezzo-soprano: Preziosilla Jonas Kaufmann, Tenor: Don Alvaro Ludovic Tézier, Baritone: Don Carlo Vitalij Kowaljow, Bass: Padre Guardiano Francesco Petrozzi, Tenor: Trabuco Renato Girolami, Bass: Fra Melitone Vitalij Kowaljow, Bass: Marquis of Calatrava |
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| National Theatre, Munich, Munich, Germany Thursday 31-Jul-14 06:00pm Second version adapted 1869
La forza del destino – what is the meaning of the destiny that Verdi uses so forcefully for the title of this family tale of various outlaws in his opera of 1862, revised in 1869? Who forces Leonora, and Alvaro as the murderer of her father, to enter the hermitage of a monastery – and confronts them there, in a mighty showdown, with the brother who is full of hatred and cannot forgive? Is it a declaration of war against God's promise of redemption? The heavenly cantilena of a solo violin rises at the end of the opera – in the face of the death of the hero's lover and brother. Those who withdraw into the consoling twilight of a divine peace here are only trying to deny one thing: the force of destiny. In Italian with German surtitles Image credit: © Wilfried Hösl Asher Fisch, Conductor Martin Kusej, Director Martin Zehetgruber, Set Designer Anja Harteros, Soprano: Leonora Nadia Krasteva, Mezzo-soprano: Preziosilla Jonas Kaufmann, Tenor: Don Alvaro Ludovic Tézier, Baritone: Don Carlo Vitalij Kowaljow, Bass: Padre Guardiano Francesco Petrozzi, Tenor: Trabuco Renato Girolami, Bass: Fra Melitone Vitalij Kowaljow, Bass: Marquis of Calatrava | ||
