Zum 300. Geburtstag von Giacomo Casanova "Auch die schönste Frau ist an den Füßen zu Ende"

Die Liebe zu den drei Orangen

Ist es wirklich so berauschend, berauscht zu sein, Frau Baudson?

Ist es wirklich so berauschend, berauscht zu sein, Frau Baudson? Ann-Katrin Zimmermann im Gespräch mit Tanja Gabriele Baudson

Hörbuch zum Festspielmotto

During the Schwetzingen Festival, SWR Kultur presents excerpts from the audiobook "Tell Me What I Am" by Una Mannion. A young woman disappears without a trace. Her husband claims she's gone into hiding, but her sister tells a different story—one of a charismatic seducer and a toxic love that destroys what it cannot possess.

Musikfeatures zum Schlosspark

Young music journalism students from Karlsruhe's University of Music create inspiring audio pieces about the Schwetzingen Festival, drawing from the unique atmosphere of the palace and park. These pieces, sometimes humorous, sometimes informative, are filled with music and the history of this special place.

Die Frau ohne Schatten

About the work According to Hugo von Hofmannsthal in a 1911 letter to Richard Strauss, in which he set out his idea for another collaboration between the two men, their next opera would be to THE MAGIC FLUTE what THE KNIGHT OF THE ROSE had been to FIGARO. And the work that premiered a full eight years later did indeed have strong echoes of Mozart’s »grand opéra«: there is the clash of different social classes, the fairytale-like, highly symbolic storyline and above all the strong feeling that ground-breaking change is underway which is challenging accepted orthodoxy and forcing issues of human interaction and values to the top of the political agenda. And in both cases enlightenment is gained only through ordeal and adversity. Here the shadow has a pivotal function as a metaphor for female fertility: the barren Empress and her nurse bargain with the dyer’s wife for her shadow. Only when the Empress rebels against achieving marital happiness and maternal contentment at someone else’s expense does a path to social harmony open up. About the production Tobias Kratzer has chosen this monumental fantasy opera to close his cycle of Strauss works at the Deutsche Oper Berlin. Where ARABELLA explores how hard it can be to even start a relationship based on equal rights and INTERMEZZO depicts what can happen in a marriage that has gone stale, in THE WOMAN WITHOUT A SHADOW Kratzer focuses on the challenge of rekindling a bond that has weakened through years of poor nurturing – an approach that extends far beyond the domestic sphere due to the ethical issues surrounding surrogate motherhood.

Die Frau ohne Schatten

About the work According to Hugo von Hofmannsthal in a 1911 letter to Richard Strauss, in which he set out his idea for another collaboration between the two men, their next opera would be to THE MAGIC FLUTE what THE KNIGHT OF THE ROSE had been to FIGARO. And the work that premiered a full eight years later did indeed have strong echoes of Mozart’s »grand opéra«: there is the clash of different social classes, the fairytale-like, highly symbolic storyline and above all the strong feeling that ground-breaking change is underway which is challenging accepted orthodoxy and forcing issues of human interaction and values to the top of the political agenda. And in both cases enlightenment is gained only through ordeal and adversity. Here the shadow has a pivotal function as a metaphor for female fertility: the barren Empress and her nurse bargain with the dyer’s wife for her shadow. Only when the Empress rebels against achieving marital happiness and maternal contentment at someone else’s expense does a path to social harmony open up. About the production Tobias Kratzer has chosen this monumental fantasy opera to close his cycle of Strauss works at the Deutsche Oper Berlin. Where ARABELLA explores how hard it can be to even start a relationship based on equal rights and INTERMEZZO depicts what can happen in a marriage that has gone stale, in THE WOMAN WITHOUT A SHADOW Kratzer focuses on the challenge of rekindling a bond that has weakened through years of poor nurturing – an approach that extends far beyond the domestic sphere due to the ethical issues surrounding surrogate motherhood.

Die Frau ohne Schatten

About the work According to Hugo von Hofmannsthal in a 1911 letter to Richard Strauss, in which he set out his idea for another collaboration between the two men, their next opera would be to THE MAGIC FLUTE what THE KNIGHT OF THE ROSE had been to FIGARO. And the work that premiered a full eight years later did indeed have strong echoes of Mozart’s »grand opéra«: there is the clash of different social classes, the fairytale-like, highly symbolic storyline and above all the strong feeling that ground-breaking change is underway which is challenging accepted orthodoxy and forcing issues of human interaction and values to the top of the political agenda. And in both cases enlightenment is gained only through ordeal and adversity. Here the shadow has a pivotal function as a metaphor for female fertility: the barren Empress and her nurse bargain with the dyer’s wife for her shadow. Only when the Empress rebels against achieving marital happiness and maternal contentment at someone else’s expense does a path to social harmony open up. About the production Tobias Kratzer has chosen this monumental fantasy opera to close his cycle of Strauss works at the Deutsche Oper Berlin. Where ARABELLA explores how hard it can be to even start a relationship based on equal rights and INTERMEZZO depicts what can happen in a marriage that has gone stale, in THE WOMAN WITHOUT A SHADOW Kratzer focuses on the challenge of rekindling a bond that has weakened through years of poor nurturing – an approach that extends far beyond the domestic sphere due to the ethical issues surrounding surrogate motherhood.

Die Frau ohne Schatten

About the work According to Hugo von Hofmannsthal in a 1911 letter to Richard Strauss, in which he set out his idea for another collaboration between the two men, their next opera would be to THE MAGIC FLUTE what THE KNIGHT OF THE ROSE had been to FIGARO. And the work that premiered a full eight years later did indeed have strong echoes of Mozart’s »grand opéra«: there is the clash of different social classes, the fairytale-like, highly symbolic storyline and above all the strong feeling that ground-breaking change is underway which is challenging accepted orthodoxy and forcing issues of human interaction and values to the top of the political agenda. And in both cases enlightenment is gained only through ordeal and adversity. Here the shadow has a pivotal function as a metaphor for female fertility: the barren Empress and her nurse bargain with the dyer’s wife for her shadow. Only when the Empress rebels against achieving marital happiness and maternal contentment at someone else’s expense does a path to social harmony open up. About the production Tobias Kratzer has chosen this monumental fantasy opera to close his cycle of Strauss works at the Deutsche Oper Berlin. Where ARABELLA explores how hard it can be to even start a relationship based on equal rights and INTERMEZZO depicts what can happen in a marriage that has gone stale, in THE WOMAN WITHOUT A SHADOW Kratzer focuses on the challenge of rekindling a bond that has weakened through years of poor nurturing – an approach that extends far beyond the domestic sphere due to the ethical issues surrounding surrogate motherhood.

Die Frau ohne Schatten

About the work According to Hugo von Hofmannsthal in a 1911 letter to Richard Strauss, in which he set out his idea for another collaboration between the two men, their next opera would be to THE MAGIC FLUTE what THE KNIGHT OF THE ROSE had been to FIGARO. And the work that premiered a full eight years later did indeed have strong echoes of Mozart’s »grand opéra«: there is the clash of different social classes, the fairytale-like, highly symbolic storyline and above all the strong feeling that ground-breaking change is underway which is challenging accepted orthodoxy and forcing issues of human interaction and values to the top of the political agenda. And in both cases enlightenment is gained only through ordeal and adversity. Here the shadow has a pivotal function as a metaphor for female fertility: the barren Empress and her nurse bargain with the dyer’s wife for her shadow. Only when the Empress rebels against achieving marital happiness and maternal contentment at someone else’s expense does a path to social harmony open up. About the production Tobias Kratzer has chosen this monumental fantasy opera to close his cycle of Strauss works at the Deutsche Oper Berlin. Where ARABELLA explores how hard it can be to even start a relationship based on equal rights and INTERMEZZO depicts what can happen in a marriage that has gone stale, in THE WOMAN WITHOUT A SHADOW Kratzer focuses on the challenge of rekindling a bond that has weakened through years of poor nurturing – an approach that extends far beyond the domestic sphere due to the ethical issues surrounding surrogate motherhood.