Concerts with works by

Gaetano Donizetti

L'elisir d'amore

Tristano e Isotta – Tristan and Isolde set an example: Nemorino has the evident idea to boost the feelings of his beloved Adina with a love potion. The charlatan Dulcamara sees his chance for a good deal and sells a bottle of the pretended potion to the unhappy lover. And very soon Nemorino does become unusually popular with the young women in town. Will he be able to sweet-talk Adina as well? Or will she decide in favor of Nemorino’s rival Belcore? Ever since the audience has tasted Gaetano Donizetti‘s “Liebestrank” at the world premiere at Milan in 1832 for the first time, the piece is an indispensable part of the repertoire of opera stages around the world. In the short – and even for him - probably record time of several weeks, Donizetti succeeded in creating a milestone of comic opera. Despite its happy character the music allows deep insight into the protagonists’ inner life. Thus Donizetti created the most famous aria of this opera for Nemorino, who sees his chance to impress Adina, as a showpiece for tenors: “Una furtiva lagrima” is not a cheerful song but a melancholy romance. Production and stage design by: Jean-Pierre Ponnelle Costumes: Pet Halmen Premiere: 18.06.1977

L'elisir d'amore

Tristano e Isotta – Tristan and Isolde set an example: Nemorino has the evident idea to boost the feelings of his beloved Adina with a love potion. The charlatan Dulcamara sees his chance for a good deal and sells a bottle of the pretended potion to the unhappy lover. And very soon Nemorino does become unusually popular with the young women in town. Will he be able to sweet-talk Adina as well? Or will she decide in favor of Nemorino’s rival Belcore? Ever since the audience has tasted Gaetano Donizetti‘s “Liebestrank” at the world premiere at Milan in 1832 for the first time, the piece is an indispensable part of the repertoire of opera stages around the world. In the short – and even for him - probably record time of several weeks, Donizetti succeeded in creating a milestone of comic opera. Despite its happy character the music allows deep insight into the protagonists’ inner life. Thus Donizetti created the most famous aria of this opera for Nemorino, who sees his chance to impress Adina, as a showpiece for tenors: “Una furtiva lagrima” is not a cheerful song but a melancholy romance. Production and stage design by: Jean-Pierre Ponnelle Costumes: Pet Halmen Premiere: 18.06.1977

Don Pasquale

Don Pasquale, an older, wealthy man with a desire for a young, modest wife, meets the young couple Ernesto and Norina in Donizetti's opera. The only thing missing for their great love happiness is the blessing of money. Malatesta, a doctor friend, develops a cunning plan so that in the end the perfect intrigue emerges and Don Pasquale becomes the plaything of the young people. Production: David Bösch Stage design: Patrick Bannwart Costumes: Falko Herold Lighting: Bernd Gallasch Dramaturgy: Detlef Giese Chorus: Christian Günther Premiere on: 29.05.2022

Maria Stuarda

Maria and Elisabetta: two queens fight for power and love. Between them stands Count Leicester, Elisabetta's lover, who is attracted to Maria. The two women meet in the park of Fotheringhay Castle - a duel of emotions, fought with the weapons of bel canto, coloratura on a knife's edge. In the end, the Catholic Maria will ascend the scaffold with her head held high, while the Protestant Elisabetta will keep her throne but lose her love. Musical Direction: Antonino Fogliani Production: Karin Beier Stage: Amber Vandenhoeck Costumes: Eva Dessecker Lighting: Annette ter Meulen Lighting Dramaturgy: Rita Thiele

Maria Stuarda

Maria and Elisabetta: two queens fight for power and love. Between them stands Count Leicester, Elisabetta's lover, who is attracted to Maria. The two women meet in the park of Fotheringhay Castle - a duel of emotions, fought with the weapons of bel canto, coloratura on a knife's edge. In the end, the Catholic Maria will ascend the scaffold with her head held high, while the Protestant Elisabetta will keep her throne but lose her love. Musical Direction: Antonino Fogliani Production: Karin Beier Stage: Amber Vandenhoeck Costumes: Eva Dessecker Lighting: Annette ter Meulen Lighting Dramaturgy: Rita Thiele

Maria Stuarda

Maria and Elisabetta: two queens fight for power and love. Between them stands Count Leicester, Elisabetta's lover, who is attracted to Maria. The two women meet in the park of Fotheringhay Castle - a duel of emotions, fought with the weapons of bel canto, coloratura on a knife's edge. In the end, the Catholic Maria will ascend the scaffold with her head held high, while the Protestant Elisabetta will keep her throne but lose her love. Musical Direction: Antonino Fogliani Production: Karin Beier Stage: Amber Vandenhoeck Costumes: Eva Dessecker Lighting: Annette ter Meulen Lighting Dramaturgy: Rita Thiele

Maria Stuarda

Maria and Elisabetta: two queens fight for power and love. Between them stands Count Leicester, Elisabetta's lover, who is attracted to Maria. The two women meet in the park of Fotheringhay Castle - a duel of emotions, fought with the weapons of bel canto, coloratura on a knife's edge. In the end, the Catholic Maria will ascend the scaffold with her head held high, while the Protestant Elisabetta will keep her throne but lose her love. Musical Direction: Antonino Fogliani Production: Karin Beier Stage: Amber Vandenhoeck Costumes: Eva Dessecker Lighting: Annette ter Meulen Lighting Dramaturgy: Rita Thiele

Maria Stuarda

Maria and Elisabetta: two queens fight for power and love. Between them stands Count Leicester, Elisabetta's lover, who is attracted to Maria. The two women meet in the park of Fotheringhay Castle - a duel of emotions, fought with the weapons of bel canto, coloratura on a knife's edge. In the end, the Catholic Maria will ascend the scaffold with her head held high, while the Protestant Elisabetta will keep her throne but lose her love. Musical Direction: Antonino Fogliani Production: Karin Beier Stage: Amber Vandenhoeck Costumes: Eva Dessecker Lighting: Annette ter Meulen Lighting Dramaturgy: Rita Thiele

Maria Stuarda

Maria and Elisabetta: two queens fight for power and love. Between them stands Count Leicester, Elisabetta's lover, who is attracted to Maria. The two women meet in the park of Fotheringhay Castle - a duel of emotions, fought with the weapons of bel canto, coloratura on a knife's edge. In the end, the Catholic Maria will ascend the scaffold with her head held high, while the Protestant Elisabetta will keep her throne but lose her love. Musical Direction: Antonino Fogliani Production: Karin Beier Stage: Amber Vandenhoeck Costumes: Eva Dessecker Lighting: Annette ter Meulen Lighting Dramaturgy: Rita Thiele

Maria Stuarda

Maria and Elisabetta: two queens fight for power and love. Between them stands Count Leicester, Elisabetta's lover, who is attracted to Maria. The two women meet in the park of Fotheringhay Castle - a duel of emotions, fought with the weapons of bel canto, coloratura on a knife's edge. In the end, the Catholic Maria will ascend the scaffold with her head held high, while the Protestant Elisabetta will keep her throne but lose her love. Musical Direction: Antonino Fogliani Production: Karin Beier Stage: Amber Vandenhoeck Costumes: Eva Dessecker Lighting: Annette ter Meulen Lighting Dramaturgy: Rita Thiele

Klassische Philharmonie NordWest / Soloists / Ulrich Semrau

In this concert, the internationally sought-after artists Helena Zubanovich (mezzo-soprano), Johannes Krebs (cello) and Sophia Weidemann (piano) will perform with the Klassische Philharmonie NordWest under the direction of Ulrich Semrau. They have made it their mission to give affordable yet artistically high-quality concerts for all Hamburg people.

Maria Stuarda Premiere

Maria Stuarda

Maria Stuarda

Maria Stuarda

Maria Stuarda

Maria Stuarda

Maria Stuarda

L'elisir d'amore

Tristano e Isotta – Tristan and Isolde set an example: Nemorino has the evident idea to boost the feelings of his beloved Adina with a love potion. The charlatan Dulcamara sees his chance for a good deal and sells a bottle of the pretended potion to the unhappy lover. And very soon Nemorino does become unusually popular with the young women in town. Will he be able to sweet-talk Adina as well? Or will she decide in favor of Nemorino’s rival Belcore? Ever since the audience has tasted Gaetano Donizetti‘s “Liebestrank” at the world premiere at Milan in 1832 for the first time, the piece is an indispensable part of the repertoire of opera stages around the world. In the short – and even for him - probably record time of several weeks, Donizetti succeeded in creating a milestone of comic opera. Despite its happy character the music allows deep insight into the protagonists’ inner life. Thus Donizetti created the most famous aria of this opera for Nemorino, who sees his chance to impress Adina, as a showpiece for tenors: “Una furtiva lagrima” is not a cheerful song but a melancholy romance. Production and stage design by: Jean-Pierre Ponnelle Costumes: Pet Halmen Premiere: 18.06.1977

L'elisir d'amore

Tristano e Isotta – Tristan and Isolde set an example: Nemorino has the evident idea to boost the feelings of his beloved Adina with a love potion. The charlatan Dulcamara sees his chance for a good deal and sells a bottle of the pretended potion to the unhappy lover. And very soon Nemorino does become unusually popular with the young women in town. Will he be able to sweet-talk Adina as well? Or will she decide in favor of Nemorino’s rival Belcore? Ever since the audience has tasted Gaetano Donizetti‘s “Liebestrank” at the world premiere at Milan in 1832 for the first time, the piece is an indispensable part of the repertoire of opera stages around the world. In the short – and even for him - probably record time of several weeks, Donizetti succeeded in creating a milestone of comic opera. Despite its happy character the music allows deep insight into the protagonists’ inner life. Thus Donizetti created the most famous aria of this opera for Nemorino, who sees his chance to impress Adina, as a showpiece for tenors: “Una furtiva lagrima” is not a cheerful song but a melancholy romance. Production and stage design by: Jean-Pierre Ponnelle Costumes: Pet Halmen Premiere: 18.06.1977

L'elisir d'amore

Tristano e Isotta – Tristan and Isolde set an example: Nemorino has the evident idea to boost the feelings of his beloved Adina with a love potion. The charlatan Dulcamara sees his chance for a good deal and sells a bottle of the pretended potion to the unhappy lover. And very soon Nemorino does become unusually popular with the young women in town. Will he be able to sweet-talk Adina as well? Or will she decide in favor of Nemorino’s rival Belcore? Ever since the audience has tasted Gaetano Donizetti‘s “Liebestrank” at the world premiere at Milan in 1832 for the first time, the piece is an indispensable part of the repertoire of opera stages around the world. In the short – and even for him - probably record time of several weeks, Donizetti succeeded in creating a milestone of comic opera. Despite its happy character the music allows deep insight into the protagonists’ inner life. Thus Donizetti created the most famous aria of this opera for Nemorino, who sees his chance to impress Adina, as a showpiece for tenors: “Una furtiva lagrima” is not a cheerful song but a melancholy romance. Production and stage design by: Jean-Pierre Ponnelle Costumes: Pet Halmen Premiere: 18.06.1977

L'elisir d'amore

Tristano e Isotta – Tristan and Isolde set an example: Nemorino has the evident idea to boost the feelings of his beloved Adina with a love potion. The charlatan Dulcamara sees his chance for a good deal and sells a bottle of the pretended potion to the unhappy lover. And very soon Nemorino does become unusually popular with the young women in town. Will he be able to sweet-talk Adina as well? Or will she decide in favor of Nemorino’s rival Belcore? Ever since the audience has tasted Gaetano Donizetti‘s “Liebestrank” at the world premiere at Milan in 1832 for the first time, the piece is an indispensable part of the repertoire of opera stages around the world. In the short – and even for him - probably record time of several weeks, Donizetti succeeded in creating a milestone of comic opera. Despite its happy character the music allows deep insight into the protagonists’ inner life. Thus Donizetti created the most famous aria of this opera for Nemorino, who sees his chance to impress Adina, as a showpiece for tenors: “Una furtiva lagrima” is not a cheerful song but a melancholy romance. Production and stage design by: Jean-Pierre Ponnelle Costumes: Pet Halmen Premiere: 18.06.1977

L'elisir d'amore

Tristano e Isotta – Tristan and Isolde set an example: Nemorino has the evident idea to boost the feelings of his beloved Adina with a love potion. The charlatan Dulcamara sees his chance for a good deal and sells a bottle of the pretended potion to the unhappy lover. And very soon Nemorino does become unusually popular with the young women in town. Will he be able to sweet-talk Adina as well? Or will she decide in favor of Nemorino’s rival Belcore? Ever since the audience has tasted Gaetano Donizetti‘s “Liebestrank” at the world premiere at Milan in 1832 for the first time, the piece is an indispensable part of the repertoire of opera stages around the world. In the short – and even for him - probably record time of several weeks, Donizetti succeeded in creating a milestone of comic opera. Despite its happy character the music allows deep insight into the protagonists’ inner life. Thus Donizetti created the most famous aria of this opera for Nemorino, who sees his chance to impress Adina, as a showpiece for tenors: “Una furtiva lagrima” is not a cheerful song but a melancholy romance. Production and stage design by: Jean-Pierre Ponnelle Costumes: Pet Halmen Premiere: 18.06.1977

Maria Stuarda

Maria and Elisabetta: two queens fight for power and love. Between them stands Count Leicester, Elisabetta's lover, who is attracted to Maria. The two women meet in the park of Fotheringhay Castle - a duel of emotions, fought with the weapons of bel canto, coloratura on a knife's edge. In the end, the Catholic Maria will ascend the scaffold with her head held high, while the Protestant Elisabetta will keep her throne but lose her love. Musical Direction: Antonino Fogliani Production: Karin Beier Stage: Amber Vandenhoeck Costumes: Eva Dessecker Lighting: Annette ter Meulen Lighting Dramaturgy: Rita Thiele

Maria Stuarda

Maria and Elisabetta: two queens fight for power and love. Between them stands Count Leicester, Elisabetta's lover, who is attracted to Maria. The two women meet in the park of Fotheringhay Castle - a duel of emotions, fought with the weapons of bel canto, coloratura on a knife's edge. In the end, the Catholic Maria will ascend the scaffold with her head held high, while the Protestant Elisabetta will keep her throne but lose her love. Musical Direction: Antonino Fogliani Production: Karin Beier Stage: Amber Vandenhoeck Costumes: Eva Dessecker Lighting: Annette ter Meulen Lighting Dramaturgy: Rita Thiele

Maria Stuarda

Maria and Elisabetta: two queens fight for power and love. Between them stands Count Leicester, Elisabetta's lover, who is attracted to Maria. The two women meet in the park of Fotheringhay Castle - a duel of emotions, fought with the weapons of bel canto, coloratura on a knife's edge. In the end, the Catholic Maria will ascend the scaffold with her head held high, while the Protestant Elisabetta will keep her throne but lose her love. Musical Direction: Antonino Fogliani Production: Karin Beier Stage: Amber Vandenhoeck Costumes: Eva Dessecker Lighting: Annette ter Meulen Lighting Dramaturgy: Rita Thiele