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Lucia di Lammermoor

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Thu, Oct 31, 2024, 18:00
About the work Enrico wants his sister to marry Lord Arturo Bucklaw, a match that will save his family from bankruptcy, but Lucia has committed to Edgardo Ravenswood, Enrico’s nemesis, who is asserting his right to family land that is now formally owned by Enrico. A forged letter framing Edgardo as having been unfaithful and blaming Lucia for the predicament the family is in enables Enrico to persuade Lucia to marry Lord Bucklaw. Edgardo throws down the gauntlet to Enrico.... Read full text

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Last update: Tue, Nov 26, 2024, 14:42

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Lucia di Lammermoor

Tue, Nov 5, 2024, 19:30
Deutsche Oper Berlin (Berlin)
About the work Enrico wants his sister to marry Lord Arturo Bucklaw, a match that will save his family from bankruptcy, but Lucia has committed to Edgardo Ravenswood, Enrico’s nemesis, who is asserting his right to family land that is now formally owned by Enrico. A forged letter framing Edgardo as having been unfaithful and blaming Lucia for the predicament the family is in enables Enrico to persuade Lucia to marry Lord Bucklaw. Edgardo throws down the gauntlet to Enrico. Lucia goes insane and dies. Edgardo, grief-stricken at the sound of the death knell, stabs himself to death. Donizetti’s tragic opera, arguably his most famous, is based on Sir Walter Scott’s bestselling novel “The Bride of Lammermoor” (1819). Salvadore Cammarano’s libretto is radical in that it ignores the political backstory to the feud between the Ashtons and Ravenwoods, relegating what has gone before to a few oblique references, and also reduces the complex web of relations in the novel to the three-way friction between Enrico Ashton, his sister Lucia and her lover Edgardo. Passions run high in this story: Enrico detests Edgardo - and also Lucia, who is trying to thwart his plans. Then there is Lucia’s love for Edgardo, which is destined to be her downfall and which is rendered masterfully by Donizetti’s score. The coloraturas that express the positive effect that love has on her in Act 1 are used at the opera’s climax to indicate her unhinged state in the Mad Scene. Another scene containing extreme drama and emotion is the sextet in Act 2. Giacomo Puccini had the following to say about it: “We Italians do relationships better than the German composers. We know how to express misery in the major key. Edgardo and Lucia are in such utter despair that it sends Lucia mad and drives Edgardo to suicide – and yet we get mellifluous sugar-plum vocals, even though Lucia is bewailing that she’s ‘been betrayed by heaven and earth! I would weep, if tears did not fail me. Despair eats away at my heart.’ ...
Info (deutscheoperberlin.de)
Artistic depiction of the event

Lucia di Lammermoor

Fri, Nov 15, 2024, 19:30
Deutsche Oper Berlin (Berlin)
About the work Enrico wants his sister to marry Lord Arturo Bucklaw, a match that will save his family from bankruptcy, but Lucia has committed to Edgardo Ravenswood, Enrico’s nemesis, who is asserting his right to family land that is now formally owned by Enrico. A forged letter framing Edgardo as having been unfaithful and blaming Lucia for the predicament the family is in enables Enrico to persuade Lucia to marry Lord Bucklaw. Edgardo throws down the gauntlet to Enrico. Lucia goes insane and dies. Edgardo, grief-stricken at the sound of the death knell, stabs himself to death. Donizetti’s tragic opera, arguably his most famous, is based on Sir Walter Scott’s bestselling novel “The Bride of Lammermoor” (1819). Salvadore Cammarano’s libretto is radical in that it ignores the political backstory to the feud between the Ashtons and Ravenwoods, relegating what has gone before to a few oblique references, and also reduces the complex web of relations in the novel to the three-way friction between Enrico Ashton, his sister Lucia and her lover Edgardo. Passions run high in this story: Enrico detests Edgardo - and also Lucia, who is trying to thwart his plans. Then there is Lucia’s love for Edgardo, which is destined to be her downfall and which is rendered masterfully by Donizetti’s score. The coloraturas that express the positive effect that love has on her in Act 1 are used at the opera’s climax to indicate her unhinged state in the Mad Scene. Another scene containing extreme drama and emotion is the sextet in Act 2. Giacomo Puccini had the following to say about it: “We Italians do relationships better than the German composers. We know how to express misery in the major key. Edgardo and Lucia are in such utter despair that it sends Lucia mad and drives Edgardo to suicide – and yet we get mellifluous sugar-plum vocals, even though Lucia is bewailing that she’s ‘been betrayed by heaven and earth! I would weep, if tears did not fail me. Despair eats away at my heart.’ ...
Info (deutscheoperberlin.de)
Artistic depiction of the event

Lucia di Lammermoor

Sat, Dec 14, 2024, 19:30
Deutsche Oper Berlin (Berlin)
About the work Enrico wants his sister to marry Lord Arturo Bucklaw, a match that will save his family from bankruptcy, but Lucia has committed to Edgardo Ravenswood, Enrico’s nemesis, who is asserting his right to family land that is now formally owned by Enrico. A forged letter framing Edgardo as having been unfaithful and blaming Lucia for the predicament the family is in enables Enrico to persuade Lucia to marry Lord Bucklaw. Edgardo throws down the gauntlet to Enrico. Lucia goes insane and dies. Edgardo, grief-stricken at the sound of the death knell, stabs himself to death. Donizetti’s tragic opera, arguably his most famous, is based on Sir Walter Scott’s bestselling novel “The Bride of Lammermoor” (1819). Salvadore Cammarano’s libretto is radical in that it ignores the political backstory to the feud between the Ashtons and Ravenwoods, relegating what has gone before to a few oblique references, and also reduces the complex web of relations in the novel to the three-way friction between Enrico Ashton, his sister Lucia and her lover Edgardo. Passions run high in this story: Enrico detests Edgardo - and also Lucia, who is trying to thwart his plans. Then there is Lucia’s love for Edgardo, which is destined to be her downfall and which is rendered masterfully by Donizetti’s score. The coloraturas that express the positive effect that love has on her in Act 1 are used at the opera’s climax to indicate her unhinged state in the Mad Scene. Another scene containing extreme drama and emotion is the sextet in Act 2. Giacomo Puccini had the following to say about it: “We Italians do relationships better than the German composers. We know how to express misery in the major key. Edgardo and Lucia are in such utter despair that it sends Lucia mad and drives Edgardo to suicide – and yet we get mellifluous sugar-plum vocals, even though Lucia is bewailing that she’s ‘been betrayed by heaven and earth! I would weep, if tears did not fail me. Despair eats away at my heart.’ ...
Info (deutscheoperberlin.de)
Artistic depiction of the event

Lucia di Lammermoor

Wed, Dec 18, 2024, 18:00
Deutsche Oper Berlin (Berlin)
About the work Enrico wants his sister to marry Lord Arturo Bucklaw, a match that will save his family from bankruptcy, but Lucia has committed to Edgardo Ravenswood, Enrico’s nemesis, who is asserting his right to family land that is now formally owned by Enrico. A forged letter framing Edgardo as having been unfaithful and blaming Lucia for the predicament the family is in enables Enrico to persuade Lucia to marry Lord Bucklaw. Edgardo throws down the gauntlet to Enrico. Lucia goes insane and dies. Edgardo, grief-stricken at the sound of the death knell, stabs himself to death. Donizetti’s tragic opera, arguably his most famous, is based on Sir Walter Scott’s bestselling novel “The Bride of Lammermoor” (1819). Salvadore Cammarano’s libretto is radical in that it ignores the political backstory to the feud between the Ashtons and Ravenwoods, relegating what has gone before to a few oblique references, and also reduces the complex web of relations in the novel to the three-way friction between Enrico Ashton, his sister Lucia and her lover Edgardo. Passions run high in this story: Enrico detests Edgardo - and also Lucia, who is trying to thwart his plans. Then there is Lucia’s love for Edgardo, which is destined to be her downfall and which is rendered masterfully by Donizetti’s score. The coloraturas that express the positive effect that love has on her in Act 1 are used at the opera’s climax to indicate her unhinged state in the Mad Scene. Another scene containing extreme drama and emotion is the sextet in Act 2. Giacomo Puccini had the following to say about it: “We Italians do relationships better than the German composers. We know how to express misery in the major key. Edgardo and Lucia are in such utter despair that it sends Lucia mad and drives Edgardo to suicide – and yet we get mellifluous sugar-plum vocals, even though Lucia is bewailing that she’s ‘been betrayed by heaven and earth! I would weep, if tears did not fail me. Despair eats away at my heart.’ ...
Info (deutscheoperberlin.de)
Artistic depiction of the event

Mitridate, re di Ponto

Sun, Feb 23, 2025, 18:00
Hamburgische Staatsoper, Großes Haus (Hamburg)
Birgit Kajtna-Wönig (Inszenierung), Adam Fischer (Musical Director), Marie-Luise Otto (Bühne), Marie-Luise Otto (Costume), Bernd Gallasch (Licht), Mara Wild (Video), Michael Sangkuhl (Dramaturgie), Robert Murray (Mitridate), Nikola Hillebrand (Aspasia), Olivia Boen (Sifare), Adriana Bignagni Lesca (Farnace), Kady Evanyshyn (Ismene), Seungwoo Simon Yang (Marzio), Peter Galliard (Arbate), Philharmonisches Staatsorchester Hamburg (Orchestra)
What happens when, in times of war and destruction, even your own family becomes a battlefield and mistrust, desire and betrayal break out? The cruel, ingenious and at the same time megalomaniac King of Pontus, Mitridate, fights a hopeless war against the Romans, while his two sons are under pressure from their father and his fiancée Aspasia decides against her duty and in favor of her feelings and turns away from him. With Mitridate, the 14-year-old Mozart composed his first full-length opera seria according to all the rules of the time and at the same time a work in which his humanistic flair already shines through. In the arias, he gives the ensemble of singers ample opportunity to explore the depths of the human soul and display their vocal virtuosity. Preserving the essence of this historical operatic genre, but at the same time reinterpreting its form, the aim is to create something in which the orchestra is integrated both visually and in terms of content. In this way, the fate of the characters can be experienced directly through visible music-making. Musical Direction: Adam Fischer Production: Birgit Kajtna-Wönig Stage and costumes: Marie-Luise Otto Lighting: Bernd Gallasch Video: Mara Wild Mara Wild Dramaturgy: Michael Sangkuhl Opera seria in three acts (1770) Text by Vittorio Amedeo Cigna-Santi after Jean Racine
Info & Ticket (www.staatsorchester-hamburg.de)
Artistic depiction of the event

Mitridate, re di Ponto

Thu, Feb 27, 2025, 19:30
Hamburgische Staatsoper, Großes Haus (Hamburg)
Birgit Kajtna-Wönig (Inszenierung), Adam Fischer (Musical Director), Marie-Luise Otto (Bühne), Marie-Luise Otto (Costume), Bernd Gallasch (Licht), Mara Wild (Video), Michael Sangkuhl (Dramaturgie), Robert Murray (Mitridate), Nikola Hillebrand (Aspasia), Olivia Boen (Sifare), Adriana Bignagni Lesca (Farnace), Kady Evanyshyn (Ismene), Seungwoo Simon Yang (Marzio), Peter Galliard (Arbate), Philharmonisches Staatsorchester Hamburg (Orchestra)
What happens when, in times of war and destruction, even your own family becomes a battlefield and mistrust, desire and betrayal break out? The cruel, ingenious and at the same time megalomaniac King of Pontus, Mitridate, fights a hopeless war against the Romans, while his two sons are under pressure from their father and his fiancée Aspasia decides against her duty and in favor of her feelings and turns away from him. With Mitridate, the 14-year-old Mozart composed his first full-length opera seria according to all the rules of the time and at the same time a work in which his humanistic flair already shines through. In the arias, he gives the ensemble of singers ample opportunity to explore the depths of the human soul and display their vocal virtuosity. Preserving the essence of this historical operatic genre, but at the same time reinterpreting its form, the aim is to create something in which the orchestra is integrated both visually and in terms of content. In this way, the fate of the characters can be experienced directly through visible music-making. Musical Direction: Adam Fischer Production: Birgit Kajtna-Wönig Stage and costumes: Marie-Luise Otto Lighting: Bernd Gallasch Video: Mara Wild Mara Wild Dramaturgy: Michael Sangkuhl Opera seria in three acts (1770) Text by Vittorio Amedeo Cigna-Santi after Jean Racine
Info & Ticket (www.staatsorchester-hamburg.de)
Artistic depiction of the event

Mitridate, re di Ponto

Sun, Mar 2, 2025, 17:00
Hamburgische Staatsoper, Großes Haus (Hamburg)
Birgit Kajtna-Wönig (Inszenierung), Adam Fischer (Musical Director), Marie-Luise Otto (Bühne), Marie-Luise Otto (Costume), Bernd Gallasch (Licht), Mara Wild (Video), Michael Sangkuhl (Dramaturgie), Robert Murray (Mitridate), Nikola Hillebrand (Aspasia), Olivia Boen (Sifare), Adriana Bignagni Lesca (Farnace), Kady Evanyshyn (Ismene), Seungwoo Simon Yang (Marzio), Peter Galliard (Arbate), Philharmonisches Staatsorchester Hamburg (Orchestra)
What happens when, in times of war and destruction, even your own family becomes a battlefield and mistrust, desire and betrayal break out? The cruel, ingenious and at the same time megalomaniac King of Pontus, Mitridate, fights a hopeless war against the Romans, while his two sons are under pressure from their father and his fiancée Aspasia decides against her duty and in favor of her feelings and turns away from him. With Mitridate, the 14-year-old Mozart composed his first full-length opera seria according to all the rules of the time and at the same time a work in which his humanistic flair already shines through. In the arias, he gives the ensemble of singers ample opportunity to explore the depths of the human soul and display their vocal virtuosity. Preserving the essence of this historical operatic genre, but at the same time reinterpreting its form, the aim is to create something in which the orchestra is integrated both visually and in terms of content. In this way, the fate of the characters can be experienced directly through visible music-making. Musical Direction: Adam Fischer Production: Birgit Kajtna-Wönig Stage and costumes: Marie-Luise Otto Lighting: Bernd Gallasch Video: Mara Wild Mara Wild Dramaturgy: Michael Sangkuhl Opera seria in three acts (1770) Text by Vittorio Amedeo Cigna-Santi after Jean Racine
Info & Ticket (www.staatsorchester-hamburg.de)
Artistic depiction of the event

Mitridate, re di Ponto

Fri, Mar 7, 2025, 19:30
Hamburgische Staatsoper, Großes Haus (Hamburg)
Birgit Kajtna-Wönig (Inszenierung), Adam Fischer (Musical Director), Marie-Luise Otto (Bühne), Marie-Luise Otto (Costume), Bernd Gallasch (Licht), Mara Wild (Video), Michael Sangkuhl (Dramaturgie), Robert Murray (Mitridate), Nikola Hillebrand (Aspasia), Olivia Boen (Sifare), Adriana Bignagni Lesca (Farnace), Kady Evanyshyn (Ismene), Seungwoo Simon Yang (Marzio), Peter Galliard (Arbate), Philharmonisches Staatsorchester Hamburg (Orchestra)
What happens when, in times of war and destruction, even your own family becomes a battlefield and mistrust, desire and betrayal break out? The cruel, ingenious and at the same time megalomaniac King of Pontus, Mitridate, fights a hopeless war against the Romans, while his two sons are under pressure from their father and his fiancée Aspasia decides against her duty and in favor of her feelings and turns away from him. With Mitridate, the 14-year-old Mozart composed his first full-length opera seria according to all the rules of the time and at the same time a work in which his humanistic flair already shines through. In the arias, he gives the ensemble of singers ample opportunity to explore the depths of the human soul and display their vocal virtuosity. Preserving the essence of this historical operatic genre, but at the same time reinterpreting its form, the aim is to create something in which the orchestra is integrated both visually and in terms of content. In this way, the fate of the characters can be experienced directly through visible music-making. Musical Direction: Adam Fischer Production: Birgit Kajtna-Wönig Stage and costumes: Marie-Luise Otto Lighting: Bernd Gallasch Video: Mara Wild Mara Wild Dramaturgy: Michael Sangkuhl Opera seria in three acts (1770) Text by Vittorio Amedeo Cigna-Santi after Jean Racine
Info & Ticket (www.staatsorchester-hamburg.de)
Artistic depiction of the event

Mitridate, re di Ponto

Sat, Jun 21, 2025, 19:30
Hamburgische Staatsoper, Großes Haus (Hamburg)
Birgit Kajtna-Wönig (Inszenierung), N. N. (Musical Director), Marie-Luise Otto (Bühne), Marie-Luise Otto (Costume), Bernd Gallasch (Licht), Mara Wild (Video), Michael Sangkuhl (Dramaturgie), Anthony Gregory (Mitridate), Nikola Hillebrand (Aspasia), Olivia Boen (Sifare), Adriana Bignagni Lesca (Farnace), Kady Evanyshyn (Ismene), Seungwoo Simon Yang (Marzio), Peter Galliard (Arbate), Philharmonisches Staatsorchester Hamburg (Orchestra)
What happens when, in times of war and destruction, even your own family becomes a battlefield and mistrust, desire and betrayal break out? The cruel, ingenious and at the same time megalomaniac King of Pontus, Mitridate, fights a hopeless war against the Romans, while his two sons are under pressure from their father and his fiancée Aspasia decides against her duty and in favor of her feelings and turns away from him. With Mitridate, the 14-year-old Mozart composed his first full-length opera seria according to all the rules of the time and at the same time a work in which his humanistic flair already shines through. In the arias, he gives the ensemble of singers ample opportunity to explore the depths of the human soul and display their vocal virtuosity. Preserving the essence of this historical operatic genre, but at the same time reinterpreting its form, the aim is to create something in which the orchestra is integrated both visually and in terms of content. In this way, the fate of the characters can be experienced directly through visible music-making. Musical Direction: Adam Fischer Production: Birgit Kajtna-Wönig Stage and costumes: Marie-Luise Otto Lighting: Bernd Gallasch Video: Mara Wild Mara Wild Dramaturgy: Michael Sangkuhl Opera seria in three acts (1770) Text by Vittorio Amedeo Cigna-Santi after Jean Racine
Info & Ticket (www.staatsorchester-hamburg.de)
Artistic depiction of the event

Mitridate, re di Ponto

Thu, Jun 26, 2025, 19:30
Hamburgische Staatsoper, Großes Haus (Hamburg)
Birgit Kajtna-Wönig (Inszenierung), N. N. (Musical Director), Marie-Luise Otto (Bühne), Marie-Luise Otto (Costume), Bernd Gallasch (Licht), Mara Wild (Video), Michael Sangkuhl (Dramaturgie), Anthony Gregory (Mitridate), Nikola Hillebrand (Aspasia), Olivia Boen (Sifare), Adriana Bignagni Lesca (Farnace), Kady Evanyshyn (Ismene), Seungwoo Simon Yang (Marzio), Peter Galliard (Arbate), Philharmonisches Staatsorchester Hamburg (Orchestra)
What happens when, in times of war and destruction, even your own family becomes a battlefield and mistrust, desire and betrayal break out? The cruel, ingenious and at the same time megalomaniac King of Pontus, Mitridate, fights a hopeless war against the Romans, while his two sons are under pressure from their father and his fiancée Aspasia decides against her duty and in favor of her feelings and turns away from him. With Mitridate, the 14-year-old Mozart composed his first full-length opera seria according to all the rules of the time and at the same time a work in which his humanistic flair already shines through. In the arias, he gives the ensemble of singers ample opportunity to explore the depths of the human soul and display their vocal virtuosity. Preserving the essence of this historical operatic genre, but at the same time reinterpreting its form, the aim is to create something in which the orchestra is integrated both visually and in terms of content. In this way, the fate of the characters can be experienced directly through visible music-making. Musical Direction: Adam Fischer Production: Birgit Kajtna-Wönig Stage and costumes: Marie-Luise Otto Lighting: Bernd Gallasch Video: Mara Wild Mara Wild Dramaturgy: Michael Sangkuhl Opera seria in three acts (1770) Text by Vittorio Amedeo Cigna-Santi after Jean Racine
Info & Ticket (www.staatsorchester-hamburg.de)