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Il trovatore

Thu, Mar 27, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Paolo Arrivabeni (Musical Director), Christian Günther (Chorleitung), George Petean (Luna), Marco Berti (Manrico), Olga Peretyatko (Leonora), Kristina Stanek (Azucena), Hubert Kowalczyk (Ferrando), Marie Maidowski (Inez), Aaron Godfrey-Mayes (Ruiz), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)

For Leonora, the song of the troubadour Manrico holds the promise and glow of love; Manrico's rival Count Luna perceives in it threat and danger. Verdi's opera is a celebration of Italian opera singing at its best - so it is no coincidence that the title character is a singer himself. And yet for the composer, Azucena, Manrico's mother, was the real protagonist. Il trovatore is rich in dramatic intricacies and intense emotions, which Verdi abruptly juxtaposes in images and scenes. Tragedy relentlessly unfolds before our eyes and ears until the truth is revealed in the opera's final seconds. Stage: Alex Eales Costumes: Herbert Murauer Lighting: James Farncombe Video: Philipp Contag-Lada Dramaturgy: Ralf Waldschmidt Chorus: Christian Günther

Info & Ticket (www.staatsorchester-hamburg.de)

Il trovatore

Tue, Apr 1, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Paolo Arrivabeni (Musical Director), Christian Günther (Chorleitung), George Petean (Luna), Marco Berti (Manrico), Olga Peretyatko (Leonora), Kristina Stanek (Azucena), Hubert Kowalczyk (Ferrando), Marie Maidowski (Inez), Aaron Godfrey-Mayes (Ruiz), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)

For Leonora, the song of the troubadour Manrico holds the promise and glow of love; Manrico's rival Count Luna perceives in it threat and danger. Verdi's opera is a celebration of Italian opera singing at its best - so it is no coincidence that the title character is a singer himself. And yet for the composer, Azucena, Manrico's mother, was the real protagonist. Il trovatore is rich in dramatic intricacies and intense emotions, which Verdi abruptly juxtaposes in images and scenes. Tragedy relentlessly unfolds before our eyes and ears until the truth is revealed in the opera's final seconds. Stage: Alex Eales Costumes: Herbert Murauer Lighting: James Farncombe Video: Philipp Contag-Lada Dramaturgy: Ralf Waldschmidt Chorus: Christian Günther

Info & Ticket (www.staatsorchester-hamburg.de)

Falstaff

Thu, Apr 3, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Finnegan Downie Dear (Musical Director), Christian Günther (Chorleitung), Christopher Purves (Falstaff), Simon Keenlyside (Ford), Seungwoo Simon Yang (Fenton), Jürgen Sacher (Dr. Cajus), Daniel Kluge (Bardolfo), Tigran Martirossian (Pistola), Danielle de Niese (Alice Ford), Elbenita Kajtazi (Nannetta), Anna Kissjudit (Mrs. Quickly), Kady Evanyshyn (Meg Page), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)

Sir John Falstaff is an anarchist who obeys only the reign of his own enjoyment, an egoist who feeds only his power-hunger and his own flesh, and who would prefer to raze the small-minded morals of his contemporaries like the walls of a fortress – by seducing two women at the same time. Needless to say, his plan is thwarted, but those trying to expose him also fail to emerge unruffled from the confusion they unleash around him – which only the audience can keep track of, barely. “Tutto nel mondo è burla,” but these jokes are only funny because falling into the abyss actually does pose quite a serious risk. Arrigo Boito, the librettist of “Otello”, distilled a sophisticated, ingenious libretto from Shakespeare’s original, driving Verdi to highly complex compositional heights. Director: Calixto Bieito Set Designer: Susanne Gschwender Costume Designer: Anja Rabes Dramaturgy: Bettina Auer Lighting Designer: Michael Bauer Premiere: January 19th 2020

Info & Ticket (www.staatsorchester-hamburg.de)

Il trovatore

Sat, Apr 5, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Paolo Arrivabeni (Musical Director), Christian Günther (Chorleitung), George Petean (Luna), Marco Berti (Manrico), Olga Peretyatko (Leonora), Kristina Stanek (Azucena), Hubert Kowalczyk (Ferrando), Marie Maidowski (Inez), Aaron Godfrey-Mayes (Ruiz), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)

For Leonora, the song of the troubadour Manrico holds the promise and glow of love; Manrico's rival Count Luna perceives in it threat and danger. Verdi's opera is a celebration of Italian opera singing at its best - so it is no coincidence that the title character is a singer himself. And yet for the composer, Azucena, Manrico's mother, was the real protagonist. Il trovatore is rich in dramatic intricacies and intense emotions, which Verdi abruptly juxtaposes in images and scenes. Tragedy relentlessly unfolds before our eyes and ears until the truth is revealed in the opera's final seconds. Stage: Alex Eales Costumes: Herbert Murauer Lighting: James Farncombe Video: Philipp Contag-Lada Dramaturgy: Ralf Waldschmidt Chorus: Christian Günther

Info & Ticket (www.staatsorchester-hamburg.de)

Falstaff

Sun, Apr 6, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Finnegan Downie Dear (Musical Director), Christian Günther (Chorleitung), Christopher Purves (Falstaff), Simon Keenlyside (Ford), Seungwoo Simon Yang (Fenton), Jürgen Sacher (Dr. Cajus), Daniel Kluge (Bardolfo), Tigran Martirossian (Pistola), Danielle de Niese (Alice Ford), Elbenita Kajtazi (Nannetta), Anna Kissjudit (Mrs. Quickly), Kady Evanyshyn (Meg Page), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)

Sir John Falstaff is an anarchist who obeys only the reign of his own enjoyment, an egoist who feeds only his power-hunger and his own flesh, and who would prefer to raze the small-minded morals of his contemporaries like the walls of a fortress – by seducing two women at the same time. Needless to say, his plan is thwarted, but those trying to expose him also fail to emerge unruffled from the confusion they unleash around him – which only the audience can keep track of, barely. “Tutto nel mondo è burla,” but these jokes are only funny because falling into the abyss actually does pose quite a serious risk. Arrigo Boito, the librettist of “Otello”, distilled a sophisticated, ingenious libretto from Shakespeare’s original, driving Verdi to highly complex compositional heights. Director: Calixto Bieito Set Designer: Susanne Gschwender Costume Designer: Anja Rabes Dramaturgy: Bettina Auer Lighting Designer: Michael Bauer Premiere: January 19th 2020

Info & Ticket (www.staatsorchester-hamburg.de)

La Traviata

Tue, Apr 8, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Stefano Ranzani (Musical Director), Christian Günther (Chorleitung), Vera-Lotte Boecker (Violetta Valery), Ida Aldrian (Flora Bervoix), Renate Spingler (Annina), Oleksiy Palchykov (Alfredo Germont), Alexey Markov (Giorgio Germont), Peter Galliard (Gastone), Mateusz Ługowski (Il Barone Douphol), William Desbiens (Il Marchese d'Obigny), Keith Klein (Il Dottore Grenvil), Aaron Godfrey-Mayes (Giuseppe), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)

Violetta is the most sought-after courtesan of the Parisian demimonde. However, her encounter with Alfredo makes her pleasure-seeking life seem questionable: they fall in love and try to build a life for themselves, far from the fast pleasures of the city. Her past, however, catches up with Violetta. Alfredo’s father persuades her that a separation is the only way to restore his family honour. Alfredo, unaware of the true reasons for her decision, insults Violetta in public. When they are finally reunited, Violetta has run out of time. Giuseppe Verdi was on the lookout for such a provocative, innovative tale when he encountered the novel La Dame aux Camélias by Alexandre Dumas the Younger. In the spring of 1852 he saw the “Lady of the Camellias” as a play adapted by the writer himself at the Vaudeville Theatre in Paris. The impression this made on him strengthened his resolve to use the tale for his next opera; the story gave him an opportunity to reformulate his grand theme: love defeated by the resistance of society. Director: Johannes Erath Stage Designer: Annette Kurz Costume Designer: Herbert Murauer Lighting Designer: Olaf Freese Dramaturgy: Francis Hüsers Premiere: 17.02.2013

Info & Ticket (www.staatsorchester-hamburg.de)

Il trovatore

Wed, Apr 9, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Paolo Arrivabeni (Musical Director), Christian Günther (Chorleitung), George Petean (Luna), Marco Berti (Manrico), Olga Peretyatko (Leonora), Kristina Stanek (Azucena), Hubert Kowalczyk (Ferrando), Marie Maidowski (Inez), Aaron Godfrey-Mayes (Ruiz), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)

For Leonora, the song of the troubadour Manrico holds the promise and glow of love; Manrico's rival Count Luna perceives in it threat and danger. Verdi's opera is a celebration of Italian opera singing at its best - so it is no coincidence that the title character is a singer himself. And yet for the composer, Azucena, Manrico's mother, was the real protagonist. Il trovatore is rich in dramatic intricacies and intense emotions, which Verdi abruptly juxtaposes in images and scenes. Tragedy relentlessly unfolds before our eyes and ears until the truth is revealed in the opera's final seconds. Stage: Alex Eales Costumes: Herbert Murauer Lighting: James Farncombe Video: Philipp Contag-Lada Dramaturgy: Ralf Waldschmidt Chorus: Christian Günther

Info & Ticket (www.staatsorchester-hamburg.de)

Falstaff

Thu, Apr 10, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Finnegan Downie Dear (Musical Director), Christian Günther (Chorleitung), Christopher Purves (Falstaff), Simon Keenlyside (Ford), Seungwoo Simon Yang (Fenton), Jürgen Sacher (Dr. Cajus), Daniel Kluge (Bardolfo), Tigran Martirossian (Pistola), Danielle de Niese (Alice Ford), Elbenita Kajtazi (Nannetta), Anna Kissjudit (Mrs. Quickly), Kady Evanyshyn (Meg Page), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)

Sir John Falstaff is an anarchist who obeys only the reign of his own enjoyment, an egoist who feeds only his power-hunger and his own flesh, and who would prefer to raze the small-minded morals of his contemporaries like the walls of a fortress – by seducing two women at the same time. Needless to say, his plan is thwarted, but those trying to expose him also fail to emerge unruffled from the confusion they unleash around him – which only the audience can keep track of, barely. “Tutto nel mondo è burla,” but these jokes are only funny because falling into the abyss actually does pose quite a serious risk. Arrigo Boito, the librettist of “Otello”, distilled a sophisticated, ingenious libretto from Shakespeare’s original, driving Verdi to highly complex compositional heights. Director: Calixto Bieito Set Designer: Susanne Gschwender Costume Designer: Anja Rabes Dramaturgy: Bettina Auer Lighting Designer: Michael Bauer Premiere: January 19th 2020

Info & Ticket (www.staatsorchester-hamburg.de)

La Traviata

Sun, Apr 13, 2025, 18:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Stefano Ranzani (Musical Director), Christian Günther (Chorleitung), Vera-Lotte Boecker (Violetta Valery), Ida Aldrian (Flora Bervoix), Renate Spingler (Annina), Oleksiy Palchykov (Alfredo Germont), Alexey Markov (Giorgio Germont), Peter Galliard (Gastone), Mateusz Ługowski (Il Barone Douphol), William Desbiens (Il Marchese d'Obigny), Keith Klein (Il Dottore Grenvil), Aaron Godfrey-Mayes (Giuseppe), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)

Violetta is the most sought-after courtesan of the Parisian demimonde. However, her encounter with Alfredo makes her pleasure-seeking life seem questionable: they fall in love and try to build a life for themselves, far from the fast pleasures of the city. Her past, however, catches up with Violetta. Alfredo’s father persuades her that a separation is the only way to restore his family honour. Alfredo, unaware of the true reasons for her decision, insults Violetta in public. When they are finally reunited, Violetta has run out of time. Giuseppe Verdi was on the lookout for such a provocative, innovative tale when he encountered the novel La Dame aux Camélias by Alexandre Dumas the Younger. In the spring of 1852 he saw the “Lady of the Camellias” as a play adapted by the writer himself at the Vaudeville Theatre in Paris. The impression this made on him strengthened his resolve to use the tale for his next opera; the story gave him an opportunity to reformulate his grand theme: love defeated by the resistance of society. Director: Johannes Erath Stage Designer: Annette Kurz Costume Designer: Herbert Murauer Lighting Designer: Olaf Freese Dramaturgy: Francis Hüsers Premiere: 17.02.2013

Info & Ticket (www.staatsorchester-hamburg.de)

La Traviata

Wed, Apr 16, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Stefano Ranzani (Musical Director), Christian Günther (Chorleitung), Vera-Lotte Boecker (Violetta Valery), Ida Aldrian (Flora Bervoix), Renate Spingler (Annina), Oleksiy Palchykov (Alfredo Germont), Alexey Markov (Giorgio Germont), Peter Galliard (Gastone), Mateusz Ługowski (Il Barone Douphol), William Desbiens (Il Marchese d'Obigny), Keith Klein (Il Dottore Grenvil), Aaron Godfrey-Mayes (Giuseppe), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)

Violetta is the most sought-after courtesan of the Parisian demimonde. However, her encounter with Alfredo makes her pleasure-seeking life seem questionable: they fall in love and try to build a life for themselves, far from the fast pleasures of the city. Her past, however, catches up with Violetta. Alfredo’s father persuades her that a separation is the only way to restore his family honour. Alfredo, unaware of the true reasons for her decision, insults Violetta in public. When they are finally reunited, Violetta has run out of time. Giuseppe Verdi was on the lookout for such a provocative, innovative tale when he encountered the novel La Dame aux Camélias by Alexandre Dumas the Younger. In the spring of 1852 he saw the “Lady of the Camellias” as a play adapted by the writer himself at the Vaudeville Theatre in Paris. The impression this made on him strengthened his resolve to use the tale for his next opera; the story gave him an opportunity to reformulate his grand theme: love defeated by the resistance of society. Director: Johannes Erath Stage Designer: Annette Kurz Costume Designer: Herbert Murauer Lighting Designer: Olaf Freese Dramaturgy: Francis Hüsers Premiere: 17.02.2013

Info & Ticket (www.staatsorchester-hamburg.de)