| Date | Event | Composers, Works, Performers |
|---|---|---|
| Monday 8-Jul-13 07:00pm |
National Theatre, MunichIl 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 | ||
| Saturday 13-Jul-13 08:00pm |
National Theatre, MunichDas 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 | ||
| Tuesday 16-Jul-13 07:00pm |
National Theatre, MunichOtello 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 |
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| 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 | ||
| Tuesday 23-Jul-13 07:00pm |
Prinzregententheater, MunichWritten 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 | ||
| Thursday 25-Jul-13 06:00pm |
National Theatre, MunichDon 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 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, MunichWritten 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 | ||
| Saturday 27-Jul-13 07:00pm |
Prinzregententheater, MunichWritten 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, MunichDon 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 | ||
| Wednesday 31-Jul-13 05:00pm |
National Theatre, MunichParsifal 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 | ||
| Sunday 22-Sep-13 06:00pm |
National Theatre, MunichDon 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 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 | ||
| Thursday 26-Sep-13 07:00pm |
National Theatre, MunichDon 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 | ||
| Sunday 29-Sep-13 06:00pm |
National Theatre, MunichDon 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 29-Oct-13 07:00pm |
National Theatre, MunichRusalka |
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 |
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| 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 | ||
| Friday 1-Nov-13 06:00pm |
National Theatre, MunichRusalka |
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 |
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| National Theatre, Munich, Munich, Germany Friday 1-Nov-13 06:00pm 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 | ||
| Monday 4-Nov-13 07:00pm |
National Theatre, MunichRusalka |
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 |
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| National Theatre, Munich, Munich, Germany Monday 4-Nov-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 | ||
| Friday 8-Nov-13 07:00pm |
National Theatre, MunichRusalka |
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 |
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| National Theatre, Munich, Munich, Germany Friday 8-Nov-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 | ||
| Friday 6-Dec-13 07:00pm |
National Theatre, MunichTosca |
Bavarian State Opera Kirill Petrenko, Conductor Luc Bondy, Director Richard Peduzzi, Set Designer Catherine Naglestad, Soprano: Floria Tosca Massimo Giordano, Tenor: Mario Cavaradossi Francesco Petrozzi, Tenor: Spoletta Scott Hendricks, Baritone: Baron Scarpia Goran Juric, Bass: Cesare Angelotti Christoph Stephinger, Bass: Sacristan |
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| National Theatre, Munich, Munich, Germany Friday 6-Dec-13 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 Catherine Naglestad, Soprano: Floria Tosca Massimo Giordano, Tenor: Mario Cavaradossi Francesco Petrozzi, Tenor: Spoletta Scott Hendricks, Baritone: Baron Scarpia Goran Juric, Bass: Cesare Angelotti Christoph Stephinger, Bass: Sacristan | ||
| Monday 9-Dec-13 07:00pm |
National Theatre, MunichTosca |
Bavarian State Opera Kirill Petrenko, Conductor Luc Bondy, Director Richard Peduzzi, Set Designer Catherine Naglestad, Soprano: Floria Tosca Massimo Giordano, Tenor: Mario Cavaradossi Francesco Petrozzi, Tenor: Spoletta Scott Hendricks, Baritone: Baron Scarpia Goran Juric, Bass: Cesare Angelotti Christoph Stephinger, Bass: Sacristan |
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| National Theatre, Munich, Munich, Germany Monday 9-Dec-13 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 Catherine Naglestad, Soprano: Floria Tosca Massimo Giordano, Tenor: Mario Cavaradossi Francesco Petrozzi, Tenor: Spoletta Scott Hendricks, Baritone: Baron Scarpia Goran Juric, Bass: Cesare Angelotti Christoph Stephinger, Bass: Sacristan | ||
| Friday 13-Dec-13 07:00pm |
National Theatre, MunichTosca |
Bavarian State Opera Kirill Petrenko, Conductor Luc Bondy, Director Richard Peduzzi, Set Designer Catherine Naglestad, Soprano: Floria Tosca Massimo Giordano, Tenor: Mario Cavaradossi Francesco Petrozzi, Tenor: Spoletta Scott Hendricks, Baritone: Baron Scarpia Goran Juric, Bass: Cesare Angelotti Christoph Stephinger, Bass: Sacristan |
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| National Theatre, Munich, Munich, Germany Friday 13-Dec-13 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 Catherine Naglestad, Soprano: Floria Tosca Massimo Giordano, Tenor: Mario Cavaradossi Francesco Petrozzi, Tenor: Spoletta Scott Hendricks, Baritone: Baron Scarpia Goran Juric, Bass: Cesare Angelotti Christoph Stephinger, Bass: Sacristan | ||
| Sunday 15-Dec-13 07:00pm |
National Theatre, MunichLa Bohème |
Bavarian State Opera Asher Fisch, Conductor Otto Schenk, Director Rudolf Heinrich, Set Designer Ana Maria Martinez, Soprano: Mimì Anna Virovlansky, Soprano: Musetta Charles Castronovo, Tenor: Rodolfo Massimo Cavalletti, Baritone: Marcello Andrea Borghini, Baritone: Schaunard Christian Rieger, Bass: Benoît Tareq Nazmi, Bass: Colline |
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| National Theatre, Munich, Munich, Germany Sunday 15-Dec-13 07:00pm ![]() Asher Fisch, Conductor Otto Schenk, Director Rudolf Heinrich, Set Designer Ana Maria Martinez, Soprano: Mimì Anna Virovlansky, Soprano: Musetta Charles Castronovo, Tenor: Rodolfo Massimo Cavalletti, Baritone: Marcello Andrea Borghini, Baritone: Schaunard Christian Rieger, Bass: Benoît Tareq Nazmi, Bass: Colline | ||
| Tuesday 17-Dec-13 07:00pm |
National Theatre, MunichLa Bohème |
Bavarian State Opera Asher Fisch, Conductor Otto Schenk, Director Rudolf Heinrich, Set Designer Ana Maria Martinez, Soprano: Mimì Anna Virovlansky, Soprano: Musetta Charles Castronovo, Tenor: Rodolfo Massimo Cavalletti, Baritone: Marcello Andrea Borghini, Baritone: Schaunard Christian Rieger, Bass: Benoît Tareq Nazmi, Bass: Colline |
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| National Theatre, Munich, Munich, Germany Tuesday 17-Dec-13 07:00pm ![]() Asher Fisch, Conductor Otto Schenk, Director Rudolf Heinrich, Set Designer Ana Maria Martinez, Soprano: Mimì Anna Virovlansky, Soprano: Musetta Charles Castronovo, Tenor: Rodolfo Massimo Cavalletti, Baritone: Marcello Andrea Borghini, Baritone: Schaunard Christian Rieger, Bass: Benoît Tareq Nazmi, Bass: Colline | ||
| Wednesday 18-Dec-13 07:00pm |
National Theatre, MunichTosca |
Bavarian State Opera Kirill Petrenko, Conductor Luc Bondy, Director Richard Peduzzi, Set Designer Catherine Naglestad, Soprano: Floria Tosca Massimo Giordano, Tenor: Mario Cavaradossi Francesco Petrozzi, Tenor: Spoletta Scott Hendricks, Baritone: Baron Scarpia Goran Juric, Bass: Cesare Angelotti Christoph Stephinger, Bass: Sacristan |
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| National Theatre, Munich, Munich, Germany Wednesday 18-Dec-13 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 Catherine Naglestad, Soprano: Floria Tosca Massimo Giordano, Tenor: Mario Cavaradossi Francesco Petrozzi, Tenor: Spoletta Scott Hendricks, Baritone: Baron Scarpia Goran Juric, Bass: Cesare Angelotti Christoph Stephinger, Bass: Sacristan | ||
| Friday 20-Dec-13 07:00pm |
National Theatre, MunichLa Bohème |
Bavarian State Opera Asher Fisch, Conductor Otto Schenk, Director Rudolf Heinrich, Set Designer Ana Maria Martinez, Soprano: Mimì Anna Virovlansky, Soprano: Musetta Charles Castronovo, Tenor: Rodolfo Massimo Cavalletti, Baritone: Marcello Andrea Borghini, Baritone: Schaunard Christian Rieger, Bass: Benoît Tareq Nazmi, Bass: Colline |
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| National Theatre, Munich, Munich, Germany Friday 20-Dec-13 07:00pm ![]() Asher Fisch, Conductor Otto Schenk, Director Rudolf Heinrich, Set Designer Ana Maria Martinez, Soprano: Mimì Anna Virovlansky, Soprano: Musetta Charles Castronovo, Tenor: Rodolfo Massimo Cavalletti, Baritone: Marcello Andrea Borghini, Baritone: Schaunard Christian Rieger, Bass: Benoît Tareq Nazmi, Bass: Colline | ||
| Saturday 21-Dec-13 03:00pm |
National Theatre, MunichHänsel and Gretel |
Bavarian State Opera Tomas Hanus, Conductor Richard Jones, Director John Macfarlane, Set Designer Sabine Hogrefe, Soprano: Gertrude / Mother Maureen McKay, Soprano: Gretel Angela Brower, Mezzo-soprano: Hänsel Kevin Conners, Tenor: Witch Levente Molnár, Baritone: Peter / Father |
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| National Theatre, Munich, Munich, Germany Saturday 21-Dec-13 03:00pm Since its first performance in 1893, Humperdinck's most famous opera Hansel and Gretel has remained constantly popular, becoming over the generations almost synonymous with the first family visit to the opera. "Brother come and dance with me!“ – "Susie, dear Susie" – a dancing brother and sister, the Dew Fairy and the Sandman, the Witch and the parents: a collection of all the fairy tale elements of the 19th century. And yet this is also a tale of hardship, hunger and the desire for abundance with a clear moral: "When the need is greatest, God the Lord puts out His hand!“
And, in Richard Jones' opulent, brilliant setting, it's a real must! Image credit: © Wilfried Hösl Tomas Hanus, Conductor Richard Jones, Director John Macfarlane, Set Designer Sabine Hogrefe, Soprano: Gertrude / Mother Maureen McKay, Soprano: Gretel Angela Brower, Mezzo-soprano: Hänsel Kevin Conners, Tenor: Witch Levente Molnár, Baritone: Peter / Father | ||
| Saturday 21-Dec-13 07:30pm |
National Theatre, MunichHänsel and Gretel |
Bavarian State Opera Tomas Hanus, Conductor Richard Jones, Director John Macfarlane, Set Designer Sabine Hogrefe, Soprano: Gertrude / Mother Hanna-Elisabeth Müller, Soprano: Gretel Angela Brower, Mezzo-soprano: Hänsel Ulrich Ress, Tenor: Witch Levente Molnár, Baritone: Peter / Father |
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| National Theatre, Munich, Munich, Germany Saturday 21-Dec-13 07:30pm Since its first performance in 1893, Humperdinck's most famous opera Hansel and Gretel has remained constantly popular, becoming over the generations almost synonymous with the first family visit to the opera. "Brother come and dance with me!“ – "Susie, dear Susie" – a dancing brother and sister, the Dew Fairy and the Sandman, the Witch and the parents: a collection of all the fairy tale elements of the 19th century. And yet this is also a tale of hardship, hunger and the desire for abundance with a clear moral: "When the need is greatest, God the Lord puts out His hand!“
And, in Richard Jones' opulent, brilliant setting, it's a real must! Image credit: © Wilfried Hösl Tomas Hanus, Conductor Richard Jones, Director John Macfarlane, Set Designer Sabine Hogrefe, Soprano: Gertrude / Mother Hanna-Elisabeth Müller, Soprano: Gretel Angela Brower, Mezzo-soprano: Hänsel Ulrich Ress, Tenor: Witch Levente Molnár, Baritone: Peter / Father | ||
| Sunday 22-Dec-13 06:00pm |
National Theatre, MunichLa 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 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 | ||
| Monday 23-Dec-13 07:00pm |
National Theatre, MunichLa Bohème |
Bavarian State Opera Asher Fisch, Conductor Otto Schenk, Director Rudolf Heinrich, Set Designer Ana Maria Martinez, Soprano: Mimì Anna Virovlansky, Soprano: Musetta Charles Castronovo, Tenor: Rodolfo Massimo Cavalletti, Baritone: Marcello Andrea Borghini, Baritone: Schaunard Christian Rieger, Bass: Benoît Tareq Nazmi, Bass: Colline |
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| National Theatre, Munich, Munich, Germany Monday 23-Dec-13 07:00pm ![]() Asher Fisch, Conductor Otto Schenk, Director Rudolf Heinrich, Set Designer Ana Maria Martinez, Soprano: Mimì Anna Virovlansky, Soprano: Musetta Charles Castronovo, Tenor: Rodolfo Massimo Cavalletti, Baritone: Marcello Andrea Borghini, Baritone: Schaunard Christian Rieger, Bass: Benoît Tareq Nazmi, Bass: Colline | ||
| Wednesday 25-Dec-13 06:00pm |
National Theatre, MunichLa 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, MunichLa 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 | ||
| Sunday 29-Dec-13 02:00pm |
National Theatre, MunichHänsel and Gretel |
Bavarian State Opera Tomas Hanus, Conductor Richard Jones, Director John Macfarlane, Set Designer Sabine Hogrefe, Soprano: Gertrude / Mother Maureen McKay, Soprano: Gretel Tara Erraught, Mezzo-soprano: Hänsel Kevin Conners, Tenor: Witch Markus Eiche, Baritone: Peter / Father |
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| National Theatre, Munich, Munich, Germany Sunday 29-Dec-13 02:00pm Since its first performance in 1893, Humperdinck's most famous opera Hansel and Gretel has remained constantly popular, becoming over the generations almost synonymous with the first family visit to the opera. "Brother come and dance with me!“ – "Susie, dear Susie" – a dancing brother and sister, the Dew Fairy and the Sandman, the Witch and the parents: a collection of all the fairy tale elements of the 19th century. And yet this is also a tale of hardship, hunger and the desire for abundance with a clear moral: "When the need is greatest, God the Lord puts out His hand!“
And, in Richard Jones' opulent, brilliant setting, it's a real must! Image credit: © Wilfried Hösl Tomas Hanus, Conductor Richard Jones, Director John Macfarlane, Set Designer Sabine Hogrefe, Soprano: Gertrude / Mother Maureen McKay, Soprano: Gretel Tara Erraught, Mezzo-soprano: Hänsel Kevin Conners, Tenor: Witch Markus Eiche, Baritone: Peter / Father | ||
| Sunday 29-Dec-13 07:00pm |
National Theatre, MunichHänsel and Gretel |
Bavarian State Opera Tomas Hanus, Conductor Richard Jones, Director John Macfarlane, Set Designer Sabine Hogrefe, Soprano: Gertrude / Mother Hanna-Elisabeth Müller, Soprano: Gretel Tara Erraught, Mezzo-soprano: Hänsel Ulrich Ress, Tenor: Witch Markus Eiche, Baritone: Peter / Father |
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| National Theatre, Munich, Munich, Germany Sunday 29-Dec-13 07:00pm Since its first performance in 1893, Humperdinck's most famous opera Hansel and Gretel has remained constantly popular, becoming over the generations almost synonymous with the first family visit to the opera. "Brother come and dance with me!“ – "Susie, dear Susie" – a dancing brother and sister, the Dew Fairy and the Sandman, the Witch and the parents: a collection of all the fairy tale elements of the 19th century. And yet this is also a tale of hardship, hunger and the desire for abundance with a clear moral: "When the need is greatest, God the Lord puts out His hand!“
And, in Richard Jones' opulent, brilliant setting, it's a real must! Image credit: © Wilfried Hösl Tomas Hanus, Conductor Richard Jones, Director John Macfarlane, Set Designer Sabine Hogrefe, Soprano: Gertrude / Mother Hanna-Elisabeth Müller, Soprano: Gretel Tara Erraught, Mezzo-soprano: Hänsel Ulrich Ress, Tenor: Witch Markus Eiche, Baritone: Peter / Father | ||
| Tuesday 31-Dec-13 06:00pm |
National Theatre, MunichLa Traviata |
Bavarian State Opera Paolo Carignani, Conductor Günter Krämer, Director Andreas Reinhardt, Set Designer Ailyn Pérez, Soprano: Violetta Valéry Silvia Hauer, Mezzo-soprano: Annina Tara Erraught, Mezzo-soprano: Flora Bervoix Charles Castronovo, Tenor: Alfredo Germont Francesco Petrozzi, Tenor: Gaston Tareq Nazmi, Bass: Marquis d'Obigny Thomas Hampson, Baritone: Giorgio Germont Christian Rieger, Bass: Baron Douphol Christoph Stephinger, Bass: Dr Grenville |
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| National Theatre, Munich, Munich, Germany Tuesday 31-Dec-13 06:00pm 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 Paolo Carignani, Conductor Günter Krämer, Director Andreas Reinhardt, Set Designer Ailyn Pérez, Soprano: Violetta Valéry Silvia Hauer, Mezzo-soprano: Annina Tara Erraught, Mezzo-soprano: Flora Bervoix Charles Castronovo, Tenor: Alfredo Germont Francesco Petrozzi, Tenor: Gaston Tareq Nazmi, Bass: Marquis d'Obigny Thomas Hampson, Baritone: Giorgio Germont Christian Rieger, Bass: Baron Douphol Christoph Stephinger, Bass: Dr Grenville | ||
| Thursday 2-Jan-14 07:00pm |
National Theatre, MunichLa 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 | ||
| Friday 3-Jan-14 07:00pm |
National Theatre, MunichLa Traviata |
Bavarian State Opera Paolo Carignani, Conductor Günter Krämer, Director Andreas Reinhardt, Set Designer Ailyn Pérez, Soprano: Violetta Valéry Silvia Hauer, Mezzo-soprano: Annina Tara Erraught, Mezzo-soprano: Flora Bervoix Charles Castronovo, Tenor: Alfredo Germont Francesco Petrozzi, Tenor: Gaston Tareq Nazmi, Bass: Marquis d'Obigny Thomas Hampson, Baritone: Giorgio Germont Christian Rieger, Bass: Baron Douphol Christoph Stephinger, Bass: Dr Grenville |
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| National Theatre, Munich, Munich, Germany Friday 3-Jan-14 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 Paolo Carignani, Conductor Günter Krämer, Director Andreas Reinhardt, Set Designer Ailyn Pérez, Soprano: Violetta Valéry Silvia Hauer, Mezzo-soprano: Annina Tara Erraught, Mezzo-soprano: Flora Bervoix Charles Castronovo, Tenor: Alfredo Germont Francesco Petrozzi, Tenor: Gaston Tareq Nazmi, Bass: Marquis d'Obigny Thomas Hampson, Baritone: Giorgio Germont Christian Rieger, Bass: Baron Douphol Christoph Stephinger, Bass: Dr Grenville | ||
| Sunday 5-Jan-14 06:00pm |
National Theatre, MunichLa 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 | ||
| Monday 6-Jan-14 06:00pm |
National Theatre, MunichLa Traviata |
Bavarian State Opera Paolo Carignani, Conductor Günter Krämer, Director Andreas Reinhardt, Set Designer Ailyn Pérez, Soprano: Violetta Valéry Silvia Hauer, Mezzo-soprano: Annina Tara Erraught, Mezzo-soprano: Flora Bervoix Charles Castronovo, Tenor: Alfredo Germont Francesco Petrozzi, Tenor: Gaston Tareq Nazmi, Bass: Marquis d'Obigny Thomas Hampson, Baritone: Giorgio Germont Christian Rieger, Bass: Baron Douphol Christoph Stephinger, Bass: Dr Grenville |
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| National Theatre, Munich, Munich, Germany Monday 6-Jan-14 06:00pm 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 Paolo Carignani, Conductor Günter Krämer, Director Andreas Reinhardt, Set Designer Ailyn Pérez, Soprano: Violetta Valéry Silvia Hauer, Mezzo-soprano: Annina Tara Erraught, Mezzo-soprano: Flora Bervoix Charles Castronovo, Tenor: Alfredo Germont Francesco Petrozzi, Tenor: Gaston Tareq Nazmi, Bass: Marquis d'Obigny Thomas Hampson, Baritone: Giorgio Germont Christian Rieger, Bass: Baron Douphol Christoph Stephinger, Bass: Dr Grenville | ||
| Wednesday 8-Jan-14 07:00pm |
National Theatre, MunichLa 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, MunichLa 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 | ||
| Friday 24-Jan-14 08:00pm |
National Theatre, MunichForever Young |
Bavarian State Ballet |
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| National Theatre, Munich, Munich, Germany Friday 24-Jan-14 08:00pm Forever Young Music by Henry Purcell, arranged by Simon Sadoff / Johannes Brahms, Symphony Nr. 4 e Moll op. 98 / Barry AdamsonForever Young – the title of a mixed-bill program featuring José Limón’s The Moor‘s Pavane, Choreartium by Léonide Massine and Maliphant's Broken Fall, with a hint of irony, reflects on a central theme of dance research which recently has been strongly endorsed by the National Culture Foundation: What is dance heritage and how do we pass it on? How do we handle the responsibility of keeping alive the legacies created by past choreographers? When the quality of the work itself transcends all of its contemporary ties and cross-references, it carries over seamlessly to the next generation: it is indeed Forever young… A certain part of this legacy arguably is to be kept in archives – the rest needs to stay alive through performance. The Bavarian State Ballet responds to the call for innovation in dance during the season by dedicating it to the classic modernity as well as challenging its audience’s perceptions with original contemporary works. With his masterpiece Choreartium, originating from the tradition of the Ballets Russes, choreographer Léonide Massine laid the groundwork for future artists by visualizing music through dance. Thereby, he created unsentimental works that, apart from their metaphysical content, stand for pure aesthetic 'material' which will be accessible to many generations to come. José Limón’s ballet The Moor‘s Pavane, a take on Shakespeare’s drama between Otello and Desdemona, focuses on the human inability to love, trust and his lack of compassion and empathy. To this day, the ballet by Mexican-American choreographer José Limón from 1949 is considered one of the key-repertory pieces of American Modern dance.
Tickets €6 - 60. Written orders will be processed beginning 24. October 2013 | ||
| Thursday 30-Jan-14 07:00pm |
National Theatre, MunichTurandot |
Bavarian State Opera Asher Fisch, Conductor Carlos Padrissa, Director Roland Olbeter, Set Designer Anita Hartig, Soprano: Liù Lise Lindstrom, Soprano: Turandot Kevin Conners, Tenor: Pang Emanuele D'Aguanno, Tenor: Pong Yonghoon Lee, Tenor: The Unknown Prince (Calàf) Markus Eiche, Baritone: Ping Goran Juric, Bass: Timur |
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| National Theatre, Munich, Munich, Germany Thursday 30-Jan-14 07:00pm The people are thirsty for blood. Another suitor for the hand of the sovereign is about to be publicly beheaded, because Princess Turandot is determined never to belong to any man. That’s why anyone who wants to marry her must first solve three riddles. Anyone who fails has to pay with his life. An unknown prince, revolted by Turandot’s cruelty, yet attracted by her beauty, takes on this potentially lethal risk – and solves the riddles. But has he awakened the ice-cold, man-murdering sovereign to love and put an end to her barbarity?
Turandot is Giacomo Puccini’s final opera. He died at a point in time when he had come upon a thus far unsolved dramaturgical problem with his composition. The princess was to be the counter draft to the anti-feminism at the fin-de-siècle. But how to depict the transformation of the man-murderer to a loving woman? Puccini left the final love scene between Turandot and Calaf fragmentary. In Italian with German surtitles Image credit: © Wilfried Hösl Asher Fisch, Conductor Carlos Padrissa, Director Roland Olbeter, Set Designer Anita Hartig, Soprano: Liù Lise Lindstrom, Soprano: Turandot Kevin Conners, Tenor: Pang Emanuele D'Aguanno, Tenor: Pong Yonghoon Lee, Tenor: The Unknown Prince (Calàf) Markus Eiche, Baritone: Ping Goran Juric, Bass: Timur | ||
| Saturday 1-Feb-14 07:30pm |
National Theatre, MunichForever Young |
Bavarian State Ballet |
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| National Theatre, Munich, Munich, Germany Saturday 1-Feb-14 07:30pm Forever Young Music by Henry Purcell, arranged by Simon Sadoff / Johannes Brahms, Symphony Nr. 4 e Moll op. 98 / Barry AdamsonForever Young – the title of a mixed-bill program featuring José Limón’s The Moor‘s Pavane, Choreartium by Léonide Massine and Maliphant's Broken Fall, with a hint of irony, reflects on a central theme of dance research which recently has been strongly endorsed by the National Culture Foundation: What is dance heritage and how do we pass it on? How do we handle the responsibility of keeping alive the legacies created by past choreographers? When the quality of the work itself transcends all of its contemporary ties and cross-references, it carries over seamlessly to the next generation: it is indeed Forever young… A certain part of this legacy arguably is to be kept in archives – the rest needs to stay alive through performance. The Bavarian State Ballet responds to the call for innovation in dance during the season by dedicating it to the classic modernity as well as challenging its audience’s perceptions with original contemporary works. With his masterpiece Choreartium, originating from the tradition of the Ballets Russes, choreographer Léonide Massine laid the groundwork for future artists by visualizing music through dance. Thereby, he created unsentimental works that, apart from their metaphysical content, stand for pure aesthetic 'material' which will be accessible to many generations to come. José Limón’s ballet The Moor‘s Pavane, a take on Shakespeare’s drama between Otello and Desdemona, focuses on the human inability to love, trust and his lack of compassion and empathy. To this day, the ballet by Mexican-American choreographer José Limón from 1949 is considered one of the key-repertory pieces of American Modern dance.
Tickets €6 - 60. Written orders will be processed beginning 24. October 2013 | ||
| Sunday 2-Feb-14 07:00pm |
National Theatre, MunichTurandot |
Bavarian State Opera Asher Fisch, Conductor Carlos Padrissa, Director Roland Olbeter, Set Designer Anita Hartig, Soprano: Liù Lise Lindstrom, Soprano: Turandot Kevin Conners, Tenor: Pang Emanuele D'Aguanno, Tenor: Pong Yonghoon Lee, Tenor: The Unknown Prince (Calàf) Markus Eiche, Baritone: Ping Goran Juric, Bass: Timur |
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| National Theatre, Munich, Munich, Germany Sunday 2-Feb-14 07:00pm The people are thirsty for blood. Another suitor for the hand of the sovereign is about to be publicly beheaded, because Princess Turandot is determined never to belong to any man. That’s why anyone who wants to marry her must first solve three riddles. Anyone who fails has to pay with his life. An unknown prince, revolted by Turandot’s cruelty, yet attracted by her beauty, takes on this potentially lethal risk – and solves the riddles. But has he awakened the ice-cold, man-murdering sovereign to love and put an end to her barbarity?
Turandot is Giacomo Puccini’s final opera. He died at a point in time when he had come upon a thus far unsolved dramaturgical problem with his composition. The princess was to be the counter draft to the anti-feminism at the fin-de-siècle. But how to depict the transformation of the man-murderer to a loving woman? Puccini left the final love scene between Turandot and Calaf fragmentary. In Italian with German surtitles Image credit: © Wilfried Hösl Asher Fisch, Conductor Carlos Padrissa, Director Roland Olbeter, Set Designer Anita Hartig, Soprano: Liù Lise Lindstrom, Soprano: Turandot Kevin Conners, Tenor: Pang Emanuele D'Aguanno, Tenor: Pong Yonghoon Lee, Tenor: The Unknown Prince (Calàf) Markus Eiche, Baritone: Ping Goran Juric, Bass: Timur | ||
| Wednesday 5-Feb-14 07:00pm |
National Theatre, MunichTurandot |
Bavarian State Opera Asher Fisch, Conductor Carlos Padrissa, Director Roland Olbeter, Set Designer Anita Hartig, Soprano: Liù Lise Lindstrom, Soprano: Turandot Kevin Conners, Tenor: Pang Emanuele D'Aguanno, Tenor: Pong Yonghoon Lee, Tenor: The Unknown Prince (Calàf) Markus Eiche, Baritone: Ping Goran Juric, Bass: Timur |
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| National Theatre, Munich, Munich, Germany Wednesday 5-Feb-14 07:00pm The people are thirsty for blood. Another suitor for the hand of the sovereign is about to be publicly beheaded, because Princess Turandot is determined never to belong to any man. That’s why anyone who wants to marry her must first solve three riddles. Anyone who fails has to pay with his life. An unknown prince, revolted by Turandot’s cruelty, yet attracted by her beauty, takes on this potentially lethal risk – and solves the riddles. But has he awakened the ice-cold, man-murdering sovereign to love and put an end to her barbarity?
Turandot is Giacomo Puccini’s final opera. He died at a point in time when he had come upon a thus far unsolved dramaturgical problem with his composition. The princess was to be the counter draft to the anti-feminism at the fin-de-siècle. But how to depict the transformation of the man-murderer to a loving woman? Puccini left the final love scene between Turandot and Calaf fragmentary. In Italian with German surtitles Image credit: © Wilfried Hösl Asher Fisch, Conductor Carlos Padrissa, Director Roland Olbeter, Set Designer Anita Hartig, Soprano: Liù Lise Lindstrom, Soprano: Turandot Kevin Conners, Tenor: Pang Emanuele D'Aguanno, Tenor: Pong Yonghoon Lee, Tenor: The Unknown Prince (Calàf) Markus Eiche, Baritone: Ping Goran Juric, Bass: Timur | ||
| Thursday 6-Feb-14 07:00pm |
National Theatre, MunichForever Young |
Bavarian State Ballet |
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| National Theatre, Munich, Munich, Germany Thursday 6-Feb-14 07:00pm Forever Young Music by Henry Purcell, arranged by Simon Sadoff / Johannes Brahms, Symphony Nr. 4 e Moll op. 98 / Barry AdamsonForever Young – the title of a mixed-bill program featuring José Limón’s The Moor‘s Pavane, Choreartium by Léonide Massine and Maliphant's Broken Fall, with a hint of irony, reflects on a central theme of dance research which recently has been strongly endorsed by the National Culture Foundation: What is dance heritage and how do we pass it on? How do we handle the responsibility of keeping alive the legacies created by past choreographers? When the quality of the work itself transcends all of its contemporary ties and cross-references, it carries over seamlessly to the next generation: it is indeed Forever young… A certain part of this legacy arguably is to be kept in archives – the rest needs to stay alive through performance. The Bavarian State Ballet responds to the call for innovation in dance during the season by dedicating it to the classic modernity as well as challenging its audience’s perceptions with original contemporary works. With his masterpiece Choreartium, originating from the tradition of the Ballets Russes, choreographer Léonide Massine laid the groundwork for future artists by visualizing music through dance. Thereby, he created unsentimental works that, apart from their metaphysical content, stand for pure aesthetic 'material' which will be accessible to many generations to come. José Limón’s ballet The Moor‘s Pavane, a take on Shakespeare’s drama between Otello and Desdemona, focuses on the human inability to love, trust and his lack of compassion and empathy. To this day, the ballet by Mexican-American choreographer José Limón from 1949 is considered one of the key-repertory pieces of American Modern dance.
Tickets €6 - 60. Written orders will be processed beginning 24. October 2013 | ||
| Friday 7-Feb-14 07:30pm |
National Theatre, MunichForever Young - Family performance |
Bavarian State Ballet |
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| National Theatre, Munich, Munich, Germany Friday 7-Feb-14 07:30pm Forever Young - Family performance Music by Henry Purcell, arranged by Simon Sadoff / Johannes Brahms, Symphony Nr. 4 e Moll op. 98 / Barry AdamsonForever Young – the title of a mixed-bill program featuring José Limón’s The Moor‘s Pavane, Choreartium by Léonide Massine and Maliphant's Broken Fall, with a hint of irony, reflects on a central theme of dance research which recently has been strongly endorsed by the National Culture Foundation: What is dance heritage and how do we pass it on? How do we handle the responsibility of keeping alive the legacies created by past choreographers? When the quality of the work itself transcends all of its contemporary ties and cross-references, it carries over seamlessly to the next generation: it is indeed Forever young… A certain part of this legacy arguably is to be kept in archives – the rest needs to stay alive through performance. The Bavarian State Ballet responds to the call for innovation in dance during the season by dedicating it to the classic modernity as well as challenging its audience’s perceptions with original contemporary works. With his masterpiece Choreartium, originating from the tradition of the Ballets Russes, choreographer Léonide Massine laid the groundwork for future artists by visualizing music through dance. Thereby, he created unsentimental works that, apart from their metaphysical content, stand for pure aesthetic 'material' which will be accessible to many generations to come. José Limón’s ballet The Moor‘s Pavane, a take on Shakespeare’s drama between Otello and Desdemona, focuses on the human inability to love, trust and his lack of compassion and empathy. To this day, the ballet by Mexican-American choreographer José Limón from 1949 is considered one of the key-repertory pieces of American Modern dance.
Tickets €6 - 60. Written orders will be processed beginning 24. October 2013. 6.45 p.m. Reduced prices available for families and Introductory event for Children at 18:45. | ||
| Sunday 9-Feb-14 03:00pm |
National Theatre, MunichForever Young |
Bavarian State Ballet |
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| National Theatre, Munich, Munich, Germany Sunday 9-Feb-14 03:00pm Forever Young Music by Henry Purcell, arranged by Simon Sadoff / Johannes Brahms, Symphony Nr. 4 e Moll op. 98 / Barry AdamsonForever Young – the title of a mixed-bill program featuring José Limón’s The Moor‘s Pavane, Choreartium by Léonide Massine and Maliphant's Broken Fall, with a hint of irony, reflects on a central theme of dance research which recently has been strongly endorsed by the National Culture Foundation: What is dance heritage and how do we pass it on? How do we handle the responsibility of keeping alive the legacies created by past choreographers? When the quality of the work itself transcends all of its contemporary ties and cross-references, it carries over seamlessly to the next generation: it is indeed Forever young… A certain part of this legacy arguably is to be kept in archives – the rest needs to stay alive through performance. The Bavarian State Ballet responds to the call for innovation in dance during the season by dedicating it to the classic modernity as well as challenging its audience’s perceptions with original contemporary works. With his masterpiece Choreartium, originating from the tradition of the Ballets Russes, choreographer Léonide Massine laid the groundwork for future artists by visualizing music through dance. Thereby, he created unsentimental works that, apart from their metaphysical content, stand for pure aesthetic 'material' which will be accessible to many generations to come. José Limón’s ballet The Moor‘s Pavane, a take on Shakespeare’s drama between Otello and Desdemona, focuses on the human inability to love, trust and his lack of compassion and empathy. To this day, the ballet by Mexican-American choreographer José Limón from 1949 is considered one of the key-repertory pieces of American Modern dance.
Tickets €5-53 Written orders will be processed beginning 9. November 2013 | ||
| Sunday 9-Feb-14 07:30pm |
National Theatre, MunichForever Young - Family performance |
Bavarian State Ballet |
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| National Theatre, Munich, Munich, Germany Sunday 9-Feb-14 07:30pm Forever Young - Family performance Music by Henry Purcell, arranged by Simon Sadoff / Johannes Brahms, Symphony Nr. 4 e Moll op. 98 / Barry AdamsonForever Young – the title of a mixed-bill program featuring José Limón’s The Moor‘s Pavane, Choreartium by Léonide Massine and Maliphant's Broken Fall, with a hint of irony, reflects on a central theme of dance research which recently has been strongly endorsed by the National Culture Foundation: What is dance heritage and how do we pass it on? How do we handle the responsibility of keeping alive the legacies created by past choreographers? When the quality of the work itself transcends all of its contemporary ties and cross-references, it carries over seamlessly to the next generation: it is indeed Forever young… A certain part of this legacy arguably is to be kept in archives – the rest needs to stay alive through performance. The Bavarian State Ballet responds to the call for innovation in dance during the season by dedicating it to the classic modernity as well as challenging its audience’s perceptions with original contemporary works. With his masterpiece Choreartium, originating from the tradition of the Ballets Russes, choreographer Léonide Massine laid the groundwork for future artists by visualizing music through dance. Thereby, he created unsentimental works that, apart from their metaphysical content, stand for pure aesthetic 'material' which will be accessible to many generations to come. José Limón’s ballet The Moor‘s Pavane, a take on Shakespeare’s drama between Otello and Desdemona, focuses on the human inability to love, trust and his lack of compassion and empathy. To this day, the ballet by Mexican-American choreographer José Limón from 1949 is considered one of the key-repertory pieces of American Modern dance.
Reduced prices available for families and Introductory event for Children at 18:45. | ||
| Saturday 22-Mar-14 08:00pm |
National Theatre, MunichSalome |
Bavarian State Opera Asher Fisch, Conductor William Friedkin, Director Hans Schavernoch, Set Designer Nadja Michael, Soprano: Salome Gabriele Schnaut, Soprano: Herodias Andreas Conrad, Tenor: Herod Joseph Kaiser, Tenor: Narraboth Alan Held, Bass-baritone: Jochanaan |
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| National Theatre, Munich, Munich, Germany Saturday 22-Mar-14 08:00pm ![]() Richard Strauss Hedwig Lachmann and Oscar Wilde Whatever Salome wants Salome gets! So far. Having grown up at the court of her degenerate mother Herodias and her asocial stepfather Herodes, it’s perfectly understandable, with this family background, that Salome absolutely refuses to accept the fact that there might be something she can’t have: the kiss of the prophet John the Baptist, Jochanaan! Salome’s beauty and seductiveness leave him completely cold, but Salome finally gets her way. With a strip tease she coerces her stepfather to have Jochanaan beheaded so that she can finally kiss his mouth. But she pays for this kiss with her life. But “what’s the difference”? She finally got her kiss! Perverse? Insane? Or was this woman just unrelenting and thus understandable? Sung in German with German surtitles Image credit: © Wilfried Hösl Asher Fisch, Conductor William Friedkin, Director Hans Schavernoch, Set Designer Nadja Michael, Soprano: Salome Gabriele Schnaut, Soprano: Herodias Andreas Conrad, Tenor: Herod Joseph Kaiser, Tenor: Narraboth Alan Held, Bass-baritone: Jochanaan | ||
| Wednesday 26-Mar-14 08:00pm |
National Theatre, MunichSalome |
Bavarian State Opera Asher Fisch, Conductor William Friedkin, Director Hans Schavernoch, Set Designer Nadja Michael, Soprano: Salome Gabriele Schnaut, Soprano: Herodias Andreas Conrad, Tenor: Herod Joseph Kaiser, Tenor: Narraboth Alan Held, Bass-baritone: Jochanaan |
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| National Theatre, Munich, Munich, Germany Wednesday 26-Mar-14 08:00pm ![]() Richard Strauss Hedwig Lachmann and Oscar Wilde Whatever Salome wants Salome gets! So far. Having grown up at the court of her degenerate mother Herodias and her asocial stepfather Herodes, it’s perfectly understandable, with this family background, that Salome absolutely refuses to accept the fact that there might be something she can’t have: the kiss of the prophet John the Baptist, Jochanaan! Salome’s beauty and seductiveness leave him completely cold, but Salome finally gets her way. With a strip tease she coerces her stepfather to have Jochanaan beheaded so that she can finally kiss his mouth. But she pays for this kiss with her life. But “what’s the difference”? She finally got her kiss! Perverse? Insane? Or was this woman just unrelenting and thus understandable? Sung in German with German surtitles Image credit: © Wilfried Hösl Asher Fisch, Conductor William Friedkin, Director Hans Schavernoch, Set Designer Nadja Michael, Soprano: Salome Gabriele Schnaut, Soprano: Herodias Andreas Conrad, Tenor: Herod Joseph Kaiser, Tenor: Narraboth Alan Held, Bass-baritone: Jochanaan | ||
| Saturday 29-Mar-14 08:00pm |
National Theatre, MunichSalome |
Bavarian State Opera Asher Fisch, Conductor William Friedkin, Director Hans Schavernoch, Set Designer Nadja Michael, Soprano: Salome Gabriele Schnaut, Soprano: Herodias Andreas Conrad, Tenor: Herod Joseph Kaiser, Tenor: Narraboth Alan Held, Bass-baritone: Jochanaan |
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| National Theatre, Munich, Munich, Germany Saturday 29-Mar-14 08:00pm ![]() Richard Strauss Hedwig Lachmann and Oscar Wilde Whatever Salome wants Salome gets! So far. Having grown up at the court of her degenerate mother Herodias and her asocial stepfather Herodes, it’s perfectly understandable, with this family background, that Salome absolutely refuses to accept the fact that there might be something she can’t have: the kiss of the prophet John the Baptist, Jochanaan! Salome’s beauty and seductiveness leave him completely cold, but Salome finally gets her way. With a strip tease she coerces her stepfather to have Jochanaan beheaded so that she can finally kiss his mouth. But she pays for this kiss with her life. But “what’s the difference”? She finally got her kiss! Perverse? Insane? Or was this woman just unrelenting and thus understandable? Sung in German with German surtitles Image credit: © Wilfried Hösl Asher Fisch, Conductor William Friedkin, Director Hans Schavernoch, Set Designer Nadja Michael, Soprano: Salome Gabriele Schnaut, Soprano: Herodias Andreas Conrad, Tenor: Herod Joseph Kaiser, Tenor: Narraboth Alan Held, Bass-baritone: Jochanaan | ||