Classical concerts featuring
Alice Meregaglia

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Quick overview of musician Alice Meregaglia by associated keywords

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These concerts featuring Alice Meregaglia became visible lately at Concert Pulse.

This season

In Hamburg

Das Paradies und die Peri

Sat, Sep 27, 2025, 20:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Omer Meir Wellber (Musical Director), Alice Meregaglia (Chorleitung), Vera-Lotte Boecker (Peri), Eliza Boom (Soprano), Eliza Boom (Jungfrau), Kady Evanyshyn (Mezzo-Soprano), Annika Schlicht (Alt), Kai Kluge (Tenor), Eric Lunga Hallam (Jüngling), Christoph Pohl (Gazna), Christoph Pohl (Mann), Xavier Sabata (Engel), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)

“WELCOME TO US! GREET US!” - HOW ART AND WE OURSELVES COULD FIND A ROLE IN OUR CRISIS-RIDDEN WORLD The Peri - an angelic mythical creature. Fallen from paradise and thrown into the world, she is denied a return to heaven. It takes three attempts before the gates open for her again: It takes more than the drop of blood of a young man, martyred in war, and the last sigh of a girl who died because she did not want to leave her lover, who was sick with the plague, alone. Only the last gift, the tear of an old man who bitterly regrets his own life's sins at the sight of a child, will enable Peri to enter the kingdom of heaven. Robert Schumann's secular oratorio Paradise and the Peri is based on the oriental epic poem by the Irish poet Thomas Moore. In Hamburg, the Persian myth narrative becomes a panopticon of the very recent past. The narrative thread of our present day strings together global crises like pearls on a necklace: pandemic, war, climate change. The world is under threat. Art, which often tells of moments of redemption, cannot save us, but it does bring with it the possibility of insight. And empathy. Paradise and the Peri opens the artistic direction of Tobias Kratzer, who welcomes the Hamburg audience with this great choral work: “Welcome to us!” The evening is not an opera, but it reflects what musical theater can be. And where it reaches its limits. Musical direction: Omer Meir Wellber, Felix Hornbachner (17.10.) Production: Tobias Kratzer Stage and costumes: Rainer Sellmaier Video: Manuel Braun Lighting: Michael Bauer Choir: Alice Meregaglia Dramaturgy: Christopher Warmuth Secular oratorio in three parts (1843) Libretto: Emil Flechsig, after the poem Lalla Rookh by Thomas Moore

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

This season

In Hamburg

Das Paradies und die Peri

Tue, Sep 30, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

“WELCOME TO US! GREET US!” - HOW ART AND WE OURSELVES COULD FIND A ROLE IN OUR CRISIS-RIDDEN WORLD The Peri - an angelic mythical creature. Fallen from paradise and thrown into the world, she is denied a return to heaven. It takes three attempts before the gates open for her again: It takes more than the drop of blood of a young man, martyred in war, and the last sigh of a girl who died because she did not want to leave her lover, who was sick with the plague, alone. Only the last gift, the tear of an old man who bitterly regrets his own life's sins at the sight of a child, will enable Peri to enter the kingdom of heaven. Robert Schumann's secular oratorio Paradise and the Peri is based on the oriental epic poem by the Irish poet Thomas Moore. In Hamburg, the Persian myth narrative becomes a panopticon of the very recent past. The narrative thread of our present day strings together global crises like pearls on a necklace: pandemic, war, climate change. The world is under threat. Art, which often tells of moments of redemption, cannot save us, but it does bring with it the possibility of insight. And empathy. Paradise and the Peri opens the artistic direction of Tobias Kratzer, who welcomes the Hamburg audience with this great choral work: “Welcome to us!” The evening is not an opera, but it reflects what musical theater can be. And where it reaches its limits. Musical direction: Omer Meir Wellber, Felix Hornbachner (17.10.) Production: Tobias Kratzer Stage and costumes: Rainer Sellmaier Video: Manuel Braun Lighting: Michael Bauer Choir: Alice Meregaglia Dramaturgy: Christopher Warmuth Secular oratorio in three parts (1843) Libretto: Emil Flechsig, after the poem Lalla Rookh by Thomas Moore

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

This season

In Hamburg

Falstaff

Thu, Oct 2, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Valerio Galli (Musical Director), Alice Meregaglia (Chorus), Wolfgang Koch (Falstaff), Andrii Kymach (Ford), Granit Musliu (Fenton), James Kryshak (Dr. Cajus), Daniel Kluge (Bardolfo), Hubert Kowalczyk (Pistola), Elbenita Kajtazi (Alice Ford), Narea Son (Nannetta), Kristina Stanek (Mrs. Quickly), Katja Pieweck (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)

Upcoming Concerts

Concerts featuring Alice Meregaglia in season 2024/25 or later

This season

In Hamburg

Das Paradies und die Peri

Sat, Sep 27, 2025, 20:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

“WELCOME TO US! GREET US!” - HOW ART AND WE OURSELVES COULD FIND A ROLE IN OUR CRISIS-RIDDEN WORLD The Peri - an angelic mythical creature. Fallen from paradise and thrown into the world, she is denied a return to heaven. It takes three attempts before the gates open for her again: It takes more than the drop of blood of a young man, martyred in war, and the last sigh of a girl who died because she did not want to leave her lover, who was sick with the plague, alone. Only the last gift, the tear of an old man who bitterly regrets his own life's sins at the sight of a child, will enable Peri to enter the kingdom of heaven. Robert Schumann's secular oratorio Paradise and the Peri is based on the oriental epic poem by the Irish poet Thomas Moore. In Hamburg, the Persian myth narrative becomes a panopticon of the very recent past. The narrative thread of our present day strings together global crises like pearls on a necklace: pandemic, war, climate change. The world is under threat. Art, which often tells of moments of redemption, cannot save us, but it does bring with it the possibility of insight. And empathy. Paradise and the Peri opens the artistic direction of Tobias Kratzer, who welcomes the Hamburg audience with this great choral work: “Welcome to us!” The evening is not an opera, but it reflects what musical theater can be. And where it reaches its limits. Musical direction: Omer Meir Wellber, Felix Hornbachner (17.10.) Production: Tobias Kratzer Stage and costumes: Rainer Sellmaier Video: Manuel Braun Lighting: Michael Bauer Choir: Alice Meregaglia Dramaturgy: Christopher Warmuth Secular oratorio in three parts (1843) Libretto: Emil Flechsig, after the poem Lalla Rookh by Thomas Moore

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

This season

In Hamburg

Das Paradies und die Peri

Tue, Sep 30, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

“WELCOME TO US! GREET US!” - HOW ART AND WE OURSELVES COULD FIND A ROLE IN OUR CRISIS-RIDDEN WORLD The Peri - an angelic mythical creature. Fallen from paradise and thrown into the world, she is denied a return to heaven. It takes three attempts before the gates open for her again: It takes more than the drop of blood of a young man, martyred in war, and the last sigh of a girl who died because she did not want to leave her lover, who was sick with the plague, alone. Only the last gift, the tear of an old man who bitterly regrets his own life's sins at the sight of a child, will enable Peri to enter the kingdom of heaven. Robert Schumann's secular oratorio Paradise and the Peri is based on the oriental epic poem by the Irish poet Thomas Moore. In Hamburg, the Persian myth narrative becomes a panopticon of the very recent past. The narrative thread of our present day strings together global crises like pearls on a necklace: pandemic, war, climate change. The world is under threat. Art, which often tells of moments of redemption, cannot save us, but it does bring with it the possibility of insight. And empathy. Paradise and the Peri opens the artistic direction of Tobias Kratzer, who welcomes the Hamburg audience with this great choral work: “Welcome to us!” The evening is not an opera, but it reflects what musical theater can be. And where it reaches its limits. Musical direction: Omer Meir Wellber, Felix Hornbachner (17.10.) Production: Tobias Kratzer Stage and costumes: Rainer Sellmaier Video: Manuel Braun Lighting: Michael Bauer Choir: Alice Meregaglia Dramaturgy: Christopher Warmuth Secular oratorio in three parts (1843) Libretto: Emil Flechsig, after the poem Lalla Rookh by Thomas Moore

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

This season

In Hamburg

Falstaff

Thu, Oct 2, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

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)

This season

In Hamburg

Das Paradies und die Peri

Fri, Oct 3, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

“WELCOME TO US! GREET US!” - HOW ART AND WE OURSELVES COULD FIND A ROLE IN OUR CRISIS-RIDDEN WORLD The Peri - an angelic mythical creature. Fallen from paradise and thrown into the world, she is denied a return to heaven. It takes three attempts before the gates open for her again: It takes more than the drop of blood of a young man, martyred in war, and the last sigh of a girl who died because she did not want to leave her lover, who was sick with the plague, alone. Only the last gift, the tear of an old man who bitterly regrets his own life's sins at the sight of a child, will enable Peri to enter the kingdom of heaven. Robert Schumann's secular oratorio Paradise and the Peri is based on the oriental epic poem by the Irish poet Thomas Moore. In Hamburg, the Persian myth narrative becomes a panopticon of the very recent past. The narrative thread of our present day strings together global crises like pearls on a necklace: pandemic, war, climate change. The world is under threat. Art, which often tells of moments of redemption, cannot save us, but it does bring with it the possibility of insight. And empathy. Paradise and the Peri opens the artistic direction of Tobias Kratzer, who welcomes the Hamburg audience with this great choral work: “Welcome to us!” The evening is not an opera, but it reflects what musical theater can be. And where it reaches its limits. Musical direction: Omer Meir Wellber, Felix Hornbachner (17.10.) Production: Tobias Kratzer Stage and costumes: Rainer Sellmaier Video: Manuel Braun Lighting: Michael Bauer Choir: Alice Meregaglia Dramaturgy: Christopher Warmuth Secular oratorio in three parts (1843) Libretto: Emil Flechsig, after the poem Lalla Rookh by Thomas Moore

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

This season

In Hamburg

Falstaff

Sat, Oct 4, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

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)

This season

In Hamburg

Falstaff

Wed, Oct 8, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Valerio Galli (Musical Director), Alice Meregaglia (Chorus), Wolfgang Koch (Falstaff), Andrii Kymach (Ford), Granit Musliu (Fenton), Jürgen Sacher (Dr. Cajus), Daniel Kluge (Bardolfo), Hubert Kowalczyk (Pistola), Elbenita Kajtazi (Alice Ford), Narea Son (Nannetta), Kristina Stanek (Mrs. Quickly), Katja Pieweck (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)

This season

In Hamburg

Così fan tutte

Fri, Oct 10, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Omer Meir Wellber (Musical Director), Alice Meregaglia (Chorleitung), Olga Kulchynska (Fiordiligi), Simone McIntosh (Dorabella), Andrew Hamilton (Guglielmo), Jonah Hoskins (Ferrando), Kangmin Justin Kim (Despina), Chao Deng (Don Alfonso), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)

Seeking to test their girlfriends’ fidelity, two men wager that they will remain steadfast. They subject the women to passionate onslaught, and in the end, the fortress of their faithfulness falls. The men, however, involved as they are in the experiment, failed to reckon that they too might betray their partners and feelings. All this cheating, confusing, lying – to others and oneself – is grotesquely comical and simultaneously cruel. One side is inclined not to think about the new situation (Guglielmo and Dorabella), while the others try to comprehend it to the point of exhaustion (Fiordiligi and Ferrando). The final ceremony seeks to cement the social status quo, bringing this new freedom to its knees. The marriage, however, is only for show, and beneath the surface of tradition, the first cracks appear. Director: Herbert Fritsch Costume Designer: Victoria Behr Lighting Designer: Carsten Sander Dramaturgy: Johannes Blum Premiere: September 8th, 2018

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

This season

In Hamburg

Das Paradies und die Peri

Sat, Oct 11, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

“WELCOME TO US! GREET US!” - HOW ART AND WE OURSELVES COULD FIND A ROLE IN OUR CRISIS-RIDDEN WORLD The Peri - an angelic mythical creature. Fallen from paradise and thrown into the world, she is denied a return to heaven. It takes three attempts before the gates open for her again: It takes more than the drop of blood of a young man, martyred in war, and the last sigh of a girl who died because she did not want to leave her lover, who was sick with the plague, alone. Only the last gift, the tear of an old man who bitterly regrets his own life's sins at the sight of a child, will enable Peri to enter the kingdom of heaven. Robert Schumann's secular oratorio Paradise and the Peri is based on the oriental epic poem by the Irish poet Thomas Moore. In Hamburg, the Persian myth narrative becomes a panopticon of the very recent past. The narrative thread of our present day strings together global crises like pearls on a necklace: pandemic, war, climate change. The world is under threat. Art, which often tells of moments of redemption, cannot save us, but it does bring with it the possibility of insight. And empathy. Paradise and the Peri opens the artistic direction of Tobias Kratzer, who welcomes the Hamburg audience with this great choral work: “Welcome to us!” The evening is not an opera, but it reflects what musical theater can be. And where it reaches its limits. Musical direction: Omer Meir Wellber, Felix Hornbachner (17.10.) Production: Tobias Kratzer Stage and costumes: Rainer Sellmaier Video: Manuel Braun Lighting: Michael Bauer Choir: Alice Meregaglia Dramaturgy: Christopher Warmuth Secular oratorio in three parts (1843) Libretto: Emil Flechsig, after the poem Lalla Rookh by Thomas Moore

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

This season

In Hamburg

Das Paradies und die Peri

Tue, Oct 14, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

“WELCOME TO US! GREET US!” - HOW ART AND WE OURSELVES COULD FIND A ROLE IN OUR CRISIS-RIDDEN WORLD The Peri - an angelic mythical creature. Fallen from paradise and thrown into the world, she is denied a return to heaven. It takes three attempts before the gates open for her again: It takes more than the drop of blood of a young man, martyred in war, and the last sigh of a girl who died because she did not want to leave her lover, who was sick with the plague, alone. Only the last gift, the tear of an old man who bitterly regrets his own life's sins at the sight of a child, will enable Peri to enter the kingdom of heaven. Robert Schumann's secular oratorio Paradise and the Peri is based on the oriental epic poem by the Irish poet Thomas Moore. In Hamburg, the Persian myth narrative becomes a panopticon of the very recent past. The narrative thread of our present day strings together global crises like pearls on a necklace: pandemic, war, climate change. The world is under threat. Art, which often tells of moments of redemption, cannot save us, but it does bring with it the possibility of insight. And empathy. Paradise and the Peri opens the artistic direction of Tobias Kratzer, who welcomes the Hamburg audience with this great choral work: “Welcome to us!” The evening is not an opera, but it reflects what musical theater can be. And where it reaches its limits. Musical direction: Omer Meir Wellber, Felix Hornbachner (17.10.) Production: Tobias Kratzer Stage and costumes: Rainer Sellmaier Video: Manuel Braun Lighting: Michael Bauer Choir: Alice Meregaglia Dramaturgy: Christopher Warmuth Secular oratorio in three parts (1843) Libretto: Emil Flechsig, after the poem Lalla Rookh by Thomas Moore

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

This season

In Hamburg

Falstaff

Wed, Oct 15, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

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)

This season

In Hamburg

Das Paradies und die Peri

Fri, Oct 17, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Felix Hornbachner (Musical Director), Alice Meregaglia (Chorleitung), Vera-Lotte Boecker (Peri), Eliza Boom (Soprano), Eliza Boom (Jungfrau), Kady Evanyshyn (Mezzo-Soprano), Annika Schlicht (Alt), Kai Kluge (Tenor), Eric Lunga Hallam (Jüngling), Christoph Pohl (Gazna), Christoph Pohl (Mann), Xavier Sabata (Engel), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)

“WELCOME TO US! GREET US!” - HOW ART AND WE OURSELVES COULD FIND A ROLE IN OUR CRISIS-RIDDEN WORLD The Peri - an angelic mythical creature. Fallen from paradise and thrown into the world, she is denied a return to heaven. It takes three attempts before the gates open for her again: It takes more than the drop of blood of a young man, martyred in war, and the last sigh of a girl who died because she did not want to leave her lover, who was sick with the plague, alone. Only the last gift, the tear of an old man who bitterly regrets his own life's sins at the sight of a child, will enable Peri to enter the kingdom of heaven. Robert Schumann's secular oratorio Paradise and the Peri is based on the oriental epic poem by the Irish poet Thomas Moore. In Hamburg, the Persian myth narrative becomes a panopticon of the very recent past. The narrative thread of our present day strings together global crises like pearls on a necklace: pandemic, war, climate change. The world is under threat. Art, which often tells of moments of redemption, cannot save us, but it does bring with it the possibility of insight. And empathy. Paradise and the Peri opens the artistic direction of Tobias Kratzer, who welcomes the Hamburg audience with this great choral work: “Welcome to us!” The evening is not an opera, but it reflects what musical theater can be. And where it reaches its limits. Musical direction: Omer Meir Wellber, Felix Hornbachner (17.10.) Production: Tobias Kratzer Stage and costumes: Rainer Sellmaier Video: Manuel Braun Lighting: Michael Bauer Choir: Alice Meregaglia Dramaturgy: Christopher Warmuth Secular oratorio in three parts (1843) Libretto: Emil Flechsig, after the poem Lalla Rookh by Thomas Moore

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

This season

In Hamburg

Così fan tutte

Sun, Oct 19, 2025, 16:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Keren Kagarlitsky (Musical Director), Alice Meregaglia (Chorleitung), Olga Kulchynska (Fiordiligi), Simone McIntosh (Dorabella), Andrew Hamilton (Guglielmo), Jonah Hoskins (Ferrando), Kangmin Justin Kim (Despina), Chao Deng (Don Alfonso), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)

Seeking to test their girlfriends’ fidelity, two men wager that they will remain steadfast. They subject the women to passionate onslaught, and in the end, the fortress of their faithfulness falls. The men, however, involved as they are in the experiment, failed to reckon that they too might betray their partners and feelings. All this cheating, confusing, lying – to others and oneself – is grotesquely comical and simultaneously cruel. One side is inclined not to think about the new situation (Guglielmo and Dorabella), while the others try to comprehend it to the point of exhaustion (Fiordiligi and Ferrando). The final ceremony seeks to cement the social status quo, bringing this new freedom to its knees. The marriage, however, is only for show, and beneath the surface of tradition, the first cracks appear. Director: Herbert Fritsch Costume Designer: Victoria Behr Lighting Designer: Carsten Sander Dramaturgy: Johannes Blum Premiere: September 8th, 2018

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

This season

In Hamburg

Così fan tutte

Wed, Oct 22, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Seeking to test their girlfriends’ fidelity, two men wager that they will remain steadfast. They subject the women to passionate onslaught, and in the end, the fortress of their faithfulness falls. The men, however, involved as they are in the experiment, failed to reckon that they too might betray their partners and feelings. All this cheating, confusing, lying – to others and oneself – is grotesquely comical and simultaneously cruel. One side is inclined not to think about the new situation (Guglielmo and Dorabella), while the others try to comprehend it to the point of exhaustion (Fiordiligi and Ferrando). The final ceremony seeks to cement the social status quo, bringing this new freedom to its knees. The marriage, however, is only for show, and beneath the surface of tradition, the first cracks appear. Director: Herbert Fritsch Costume Designer: Victoria Behr Lighting Designer: Carsten Sander Dramaturgy: Johannes Blum Premiere: September 8th, 2018

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

This season

In Hamburg

Das Paradies und die Peri

Fri, Oct 24, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

“WELCOME TO US! GREET US!” - HOW ART AND WE OURSELVES COULD FIND A ROLE IN OUR CRISIS-RIDDEN WORLD The Peri - an angelic mythical creature. Fallen from paradise and thrown into the world, she is denied a return to heaven. It takes three attempts before the gates open for her again: It takes more than the drop of blood of a young man, martyred in war, and the last sigh of a girl who died because she did not want to leave her lover, who was sick with the plague, alone. Only the last gift, the tear of an old man who bitterly regrets his own life's sins at the sight of a child, will enable Peri to enter the kingdom of heaven. Robert Schumann's secular oratorio Paradise and the Peri is based on the oriental epic poem by the Irish poet Thomas Moore. In Hamburg, the Persian myth narrative becomes a panopticon of the very recent past. The narrative thread of our present day strings together global crises like pearls on a necklace: pandemic, war, climate change. The world is under threat. Art, which often tells of moments of redemption, cannot save us, but it does bring with it the possibility of insight. And empathy. Paradise and the Peri opens the artistic direction of Tobias Kratzer, who welcomes the Hamburg audience with this great choral work: “Welcome to us!” The evening is not an opera, but it reflects what musical theater can be. And where it reaches its limits. Musical direction: Omer Meir Wellber, Felix Hornbachner (17.10.) Production: Tobias Kratzer Stage and costumes: Rainer Sellmaier Video: Manuel Braun Lighting: Michael Bauer Choir: Alice Meregaglia Dramaturgy: Christopher Warmuth Secular oratorio in three parts (1843) Libretto: Emil Flechsig, after the poem Lalla Rookh by Thomas Moore

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

This season

In Hamburg

Tosca

Sun, Oct 26, 2025, 17:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Giampaolo Bisanti (Musical Director), Alice Meregaglia (Chorleitung), Ewa Vesin (Floria Tosca), Young Woo Kim (Mario Cavaradossi), Gabriele Viviani (Baron Scarpia), Tigran Martirossian (Cesare Angelotti), William Desbiens (Sagrestano), Peter Galliard (Spoletta), Keith Klein (Sciarrone), Alsterspatzen – Kinder- und Jugendchor der Hamburgischen Staatsoper (Childrens’ choir), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)

Scarpia, Rome’s chief of police, desires Tosca. Since her lover, the painter Cavaradossi, is among the government’s political enemies, Scarpia has him imprisoned. He orders Cavaradossi’s execution and hopes to force Tosca into granting him one night with her, in exchange for Cavaradossi’s release. She, however, thwarts his plans… Director: Robert Carsen Set and Costume Designer: Anthony Ward Lighting Designer: Davy Cunningham Premiere: 15.10.2000

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

This season

In Hamburg

Così fan tutte

Thu, Oct 30, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Seeking to test their girlfriends’ fidelity, two men wager that they will remain steadfast. They subject the women to passionate onslaught, and in the end, the fortress of their faithfulness falls. The men, however, involved as they are in the experiment, failed to reckon that they too might betray their partners and feelings. All this cheating, confusing, lying – to others and oneself – is grotesquely comical and simultaneously cruel. One side is inclined not to think about the new situation (Guglielmo and Dorabella), while the others try to comprehend it to the point of exhaustion (Fiordiligi and Ferrando). The final ceremony seeks to cement the social status quo, bringing this new freedom to its knees. The marriage, however, is only for show, and beneath the surface of tradition, the first cracks appear. Director: Herbert Fritsch Costume Designer: Victoria Behr Lighting Designer: Carsten Sander Dramaturgy: Johannes Blum Premiere: September 8th, 2018

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This season

In Hamburg

Das Paradies und die Peri

Sat, Nov 1, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

“WELCOME TO US! GREET US!” - HOW ART AND WE OURSELVES COULD FIND A ROLE IN OUR CRISIS-RIDDEN WORLD The Peri - an angelic mythical creature. Fallen from paradise and thrown into the world, she is denied a return to heaven. It takes three attempts before the gates open for her again: It takes more than the drop of blood of a young man, martyred in war, and the last sigh of a girl who died because she did not want to leave her lover, who was sick with the plague, alone. Only the last gift, the tear of an old man who bitterly regrets his own life's sins at the sight of a child, will enable Peri to enter the kingdom of heaven. Robert Schumann's secular oratorio Paradise and the Peri is based on the oriental epic poem by the Irish poet Thomas Moore. In Hamburg, the Persian myth narrative becomes a panopticon of the very recent past. The narrative thread of our present day strings together global crises like pearls on a necklace: pandemic, war, climate change. The world is under threat. Art, which often tells of moments of redemption, cannot save us, but it does bring with it the possibility of insight. And empathy. Paradise and the Peri opens the artistic direction of Tobias Kratzer, who welcomes the Hamburg audience with this great choral work: “Welcome to us!” The evening is not an opera, but it reflects what musical theater can be. And where it reaches its limits. Musical direction: Omer Meir Wellber, Felix Hornbachner (17.10.) Production: Tobias Kratzer Stage and costumes: Rainer Sellmaier Video: Manuel Braun Lighting: Michael Bauer Choir: Alice Meregaglia Dramaturgy: Christopher Warmuth Secular oratorio in three parts (1843) Libretto: Emil Flechsig, after the poem Lalla Rookh by Thomas Moore

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This season

In Hamburg

Tosca

Fri, Nov 7, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Scarpia, Rome’s chief of police, desires Tosca. Since her lover, the painter Cavaradossi, is among the government’s political enemies, Scarpia has him imprisoned. He orders Cavaradossi’s execution and hopes to force Tosca into granting him one night with her, in exchange for Cavaradossi’s release. She, however, thwarts his plans… Director: Robert Carsen Set and Costume Designer: Anthony Ward Lighting Designer: Davy Cunningham Premiere: 15.10.2000

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This season

In Hamburg

Ruslan und Ljudmila

Sun, Nov 9, 2025, 18:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Ben Glassberg (Musical Director), Alice Meregaglia (Chorleitung), Gabriela Legun (Ljudmila), Ilia Kazakov (Ruslan), Giorgi Manoshvili (Farlaf), Nicky Spence (Bajan), Nicky Spence (Finn), Artem Krutko (Ratmir), Kristina Stanek (Naina), Natalia Tanasii (Gorislawa), Alexander Roslavets (Swetosar), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)

A REDISCOVERY - NATIONAL EPIC OR FAIRYTALE OPERA ABOUT THE FIGHT AGAINST EVIL? Who is good and who is evil in this fairytale opera - and why? The nucleus of Pushkin's setting of Ruslan and Lyudmila by Mikhail Glinka is the abduction of the princess's daughter Lyudmila from Kiev, the center of both the Russian and Ukrainian founding myths. For Ruslan, the warrior promised to her, this marks the beginning of an adventurous journey through the magical realm of a powerful dwarf. The rescue operation escalates into a showdown between the men fighting for Lyudmila. But she herself increasingly becomes a distant vision of love - the longed-for prize for heroism. In 1842, in the midst of the awakening Russian national sentiment, Glinka conceived the idea of a culturally united tsarist empire, in which he merged Slavic, Finnish and Arabic melos with the bel canto fashion of his time. Hungarian directors Alexandra Szemerédy and Magdolna Parditka look behind the magical façade of the legendary world and approach the characters with great curiosity for their most primal human fears, their emotional abrasions and abysses. They also follow trails that lead into authoritarian systems of yesterday and today - and ultimately end in a wedding. Or is the happy ending of this fairy tale pure utopia? Musical direction: Ben Glassberg Production, stage and costumes: Alexandra Szemerédy, Magdolna Parditka Chorus: Alice Meregaglia Dramaturgy: Judith Wiemers Grand magic opera in five acts (1842) Libretto: Konstantin Bakturin, Valeriyan Shirkov, Nestor Kukolnik, Mikhail Godenov, Nikolai Markevich and Mikhail Glinka based on the poem of the same name by Alexander Pushkin

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This season

In Hamburg

Ruslan und Ljudmila

Wed, Nov 12, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

A REDISCOVERY - NATIONAL EPIC OR FAIRYTALE OPERA ABOUT THE FIGHT AGAINST EVIL? Who is good and who is evil in this fairytale opera - and why? The nucleus of Pushkin's setting of Ruslan and Lyudmila by Mikhail Glinka is the abduction of the princess's daughter Lyudmila from Kiev, the center of both the Russian and Ukrainian founding myths. For Ruslan, the warrior promised to her, this marks the beginning of an adventurous journey through the magical realm of a powerful dwarf. The rescue operation escalates into a showdown between the men fighting for Lyudmila. But she herself increasingly becomes a distant vision of love - the longed-for prize for heroism. In 1842, in the midst of the awakening Russian national sentiment, Glinka conceived the idea of a culturally united tsarist empire, in which he merged Slavic, Finnish and Arabic melos with the bel canto fashion of his time. Hungarian directors Alexandra Szemerédy and Magdolna Parditka look behind the magical façade of the legendary world and approach the characters with great curiosity for their most primal human fears, their emotional abrasions and abysses. They also follow trails that lead into authoritarian systems of yesterday and today - and ultimately end in a wedding. Or is the happy ending of this fairy tale pure utopia? Musical direction: Ben Glassberg Production, stage and costumes: Alexandra Szemerédy, Magdolna Parditka Chorus: Alice Meregaglia Dramaturgy: Judith Wiemers Grand magic opera in five acts (1842) Libretto: Konstantin Bakturin, Valeriyan Shirkov, Nestor Kukolnik, Mikhail Godenov, Nikolai Markevich and Mikhail Glinka based on the poem of the same name by Alexander Pushkin

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

This season

In Hamburg

Tosca

Fri, Nov 14, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Scarpia, Rome’s chief of police, desires Tosca. Since her lover, the painter Cavaradossi, is among the government’s political enemies, Scarpia has him imprisoned. He orders Cavaradossi’s execution and hopes to force Tosca into granting him one night with her, in exchange for Cavaradossi’s release. She, however, thwarts his plans… Director: Robert Carsen Set and Costume Designer: Anthony Ward Lighting Designer: Davy Cunningham Premiere: 15.10.2000

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

This season

In Hamburg

Ruslan und Ljudmila

Sat, Nov 22, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

A REDISCOVERY - NATIONAL EPIC OR FAIRYTALE OPERA ABOUT THE FIGHT AGAINST EVIL? Who is good and who is evil in this fairytale opera - and why? The nucleus of Pushkin's setting of Ruslan and Lyudmila by Mikhail Glinka is the abduction of the princess's daughter Lyudmila from Kiev, the center of both the Russian and Ukrainian founding myths. For Ruslan, the warrior promised to her, this marks the beginning of an adventurous journey through the magical realm of a powerful dwarf. The rescue operation escalates into a showdown between the men fighting for Lyudmila. But she herself increasingly becomes a distant vision of love - the longed-for prize for heroism. In 1842, in the midst of the awakening Russian national sentiment, Glinka conceived the idea of a culturally united tsarist empire, in which he merged Slavic, Finnish and Arabic melos with the bel canto fashion of his time. Hungarian directors Alexandra Szemerédy and Magdolna Parditka look behind the magical façade of the legendary world and approach the characters with great curiosity for their most primal human fears, their emotional abrasions and abysses. They also follow trails that lead into authoritarian systems of yesterday and today - and ultimately end in a wedding. Or is the happy ending of this fairy tale pure utopia? Musical direction: Ben Glassberg Production, stage and costumes: Alexandra Szemerédy, Magdolna Parditka Chorus: Alice Meregaglia Dramaturgy: Judith Wiemers Grand magic opera in five acts (1842) Libretto: Konstantin Bakturin, Valeriyan Shirkov, Nestor Kukolnik, Mikhail Godenov, Nikolai Markevich and Mikhail Glinka based on the poem of the same name by Alexander Pushkin

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

This season

In Hamburg

Ruslan und Ljudmila

Thu, Nov 27, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

A REDISCOVERY - NATIONAL EPIC OR FAIRYTALE OPERA ABOUT THE FIGHT AGAINST EVIL? Who is good and who is evil in this fairytale opera - and why? The nucleus of Pushkin's setting of Ruslan and Lyudmila by Mikhail Glinka is the abduction of the princess's daughter Lyudmila from Kiev, the center of both the Russian and Ukrainian founding myths. For Ruslan, the warrior promised to her, this marks the beginning of an adventurous journey through the magical realm of a powerful dwarf. The rescue operation escalates into a showdown between the men fighting for Lyudmila. But she herself increasingly becomes a distant vision of love - the longed-for prize for heroism. In 1842, in the midst of the awakening Russian national sentiment, Glinka conceived the idea of a culturally united tsarist empire, in which he merged Slavic, Finnish and Arabic melos with the bel canto fashion of his time. Hungarian directors Alexandra Szemerédy and Magdolna Parditka look behind the magical façade of the legendary world and approach the characters with great curiosity for their most primal human fears, their emotional abrasions and abysses. They also follow trails that lead into authoritarian systems of yesterday and today - and ultimately end in a wedding. Or is the happy ending of this fairy tale pure utopia? Musical direction: Ben Glassberg Production, stage and costumes: Alexandra Szemerédy, Magdolna Parditka Chorus: Alice Meregaglia Dramaturgy: Judith Wiemers Grand magic opera in five acts (1842) Libretto: Konstantin Bakturin, Valeriyan Shirkov, Nestor Kukolnik, Mikhail Godenov, Nikolai Markevich and Mikhail Glinka based on the poem of the same name by Alexander Pushkin

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

This season

In Hamburg

Tosca

Sat, Nov 29, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Giampaolo Bisanti (Musical Director), Alice Meregaglia (Chorleitung), Ewa Płonka (Floria Tosca), Joseph Calleja (Mario Cavaradossi), Gabriele Viviani (Baron Scarpia), Tigran Martirossian (Cesare Angelotti), William Desbiens (Sagrestano), Peter Galliard (Spoletta), Keith Klein (Sciarrone), Alsterspatzen – Kinder- und Jugendchor der Hamburgischen Staatsoper (Childrens’ choir), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)

Scarpia, Rome’s chief of police, desires Tosca. Since her lover, the painter Cavaradossi, is among the government’s political enemies, Scarpia has him imprisoned. He orders Cavaradossi’s execution and hopes to force Tosca into granting him one night with her, in exchange for Cavaradossi’s release. She, however, thwarts his plans… Director: Robert Carsen Set and Costume Designer: Anthony Ward Lighting Designer: Davy Cunningham Premiere: 15.10.2000

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

This season

In Hamburg

Ruslan und Ljudmila

Tue, Dec 2, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

A REDISCOVERY - NATIONAL EPIC OR FAIRYTALE OPERA ABOUT THE FIGHT AGAINST EVIL? Who is good and who is evil in this fairytale opera - and why? The nucleus of Pushkin's setting of Ruslan and Lyudmila by Mikhail Glinka is the abduction of the princess's daughter Lyudmila from Kiev, the center of both the Russian and Ukrainian founding myths. For Ruslan, the warrior promised to her, this marks the beginning of an adventurous journey through the magical realm of a powerful dwarf. The rescue operation escalates into a showdown between the men fighting for Lyudmila. But she herself increasingly becomes a distant vision of love - the longed-for prize for heroism. In 1842, in the midst of the awakening Russian national sentiment, Glinka conceived the idea of a culturally united tsarist empire, in which he merged Slavic, Finnish and Arabic melos with the bel canto fashion of his time. Hungarian directors Alexandra Szemerédy and Magdolna Parditka look behind the magical façade of the legendary world and approach the characters with great curiosity for their most primal human fears, their emotional abrasions and abysses. They also follow trails that lead into authoritarian systems of yesterday and today - and ultimately end in a wedding. Or is the happy ending of this fairy tale pure utopia? Musical direction: Ben Glassberg Production, stage and costumes: Alexandra Szemerédy, Magdolna Parditka Chorus: Alice Meregaglia Dramaturgy: Judith Wiemers Grand magic opera in five acts (1842) Libretto: Konstantin Bakturin, Valeriyan Shirkov, Nestor Kukolnik, Mikhail Godenov, Nikolai Markevich and Mikhail Glinka based on the poem of the same name by Alexander Pushkin

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

This season

In Hamburg

Ruslan und Ljudmila

Thu, Dec 11, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Ben Glassberg (Musical Director), Alice Meregaglia (Chorleitung), Gabriela Legun (Ljudmila), Ilia Kazakov (Ruslan), Giorgi Manoshvili (Farlaf), Nicky Spence (Bajan), Nicky Spence (Finn), Artem Krutko (Ratmir), Kristina Stanek (Naina), Natalia Tanasii (Gorislawa), Tigran Martirossian (Swetosar), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)

A REDISCOVERY - NATIONAL EPIC OR FAIRYTALE OPERA ABOUT THE FIGHT AGAINST EVIL? Who is good and who is evil in this fairytale opera - and why? The nucleus of Pushkin's setting of Ruslan and Lyudmila by Mikhail Glinka is the abduction of the princess's daughter Lyudmila from Kiev, the center of both the Russian and Ukrainian founding myths. For Ruslan, the warrior promised to her, this marks the beginning of an adventurous journey through the magical realm of a powerful dwarf. The rescue operation escalates into a showdown between the men fighting for Lyudmila. But she herself increasingly becomes a distant vision of love - the longed-for prize for heroism. In 1842, in the midst of the awakening Russian national sentiment, Glinka conceived the idea of a culturally united tsarist empire, in which he merged Slavic, Finnish and Arabic melos with the bel canto fashion of his time. Hungarian directors Alexandra Szemerédy and Magdolna Parditka look behind the magical façade of the legendary world and approach the characters with great curiosity for their most primal human fears, their emotional abrasions and abysses. They also follow trails that lead into authoritarian systems of yesterday and today - and ultimately end in a wedding. Or is the happy ending of this fairy tale pure utopia? Musical direction: Ben Glassberg Production, stage and costumes: Alexandra Szemerédy, Magdolna Parditka Chorus: Alice Meregaglia Dramaturgy: Judith Wiemers Grand magic opera in five acts (1842) Libretto: Konstantin Bakturin, Valeriyan Shirkov, Nestor Kukolnik, Mikhail Godenov, Nikolai Markevich and Mikhail Glinka based on the poem of the same name by Alexander Pushkin

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

This season

In Hamburg

Ruslan und Ljudmila

Sat, Dec 13, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Ben Glassberg (Musical Director), Alice Meregaglia (Chorleitung), Gabriela Legun (Ljudmila), Ilia Kazakov (Ruslan), Giorgi Manoshvili (Farlaf), Nicky Spence (Bajan), Nicky Spence (Finn), Artem Krutko (Ratmir), Kristina Stanek (Naina), Natalia Tanasii (Gorislawa), Tigran Martirossian (Swetosar), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)

A REDISCOVERY - NATIONAL EPIC OR FAIRYTALE OPERA ABOUT THE FIGHT AGAINST EVIL? Who is good and who is evil in this fairytale opera - and why? The nucleus of Pushkin's setting of Ruslan and Lyudmila by Mikhail Glinka is the abduction of the princess's daughter Lyudmila from Kiev, the center of both the Russian and Ukrainian founding myths. For Ruslan, the warrior promised to her, this marks the beginning of an adventurous journey through the magical realm of a powerful dwarf. The rescue operation escalates into a showdown between the men fighting for Lyudmila. But she herself increasingly becomes a distant vision of love - the longed-for prize for heroism. In 1842, in the midst of the awakening Russian national sentiment, Glinka conceived the idea of a culturally united tsarist empire, in which he merged Slavic, Finnish and Arabic melos with the bel canto fashion of his time. Hungarian directors Alexandra Szemerédy and Magdolna Parditka look behind the magical façade of the legendary world and approach the characters with great curiosity for their most primal human fears, their emotional abrasions and abysses. They also follow trails that lead into authoritarian systems of yesterday and today - and ultimately end in a wedding. Or is the happy ending of this fairy tale pure utopia? Musical direction: Ben Glassberg Production, stage and costumes: Alexandra Szemerédy, Magdolna Parditka Chorus: Alice Meregaglia Dramaturgy: Judith Wiemers Grand magic opera in five acts (1842) Libretto: Konstantin Bakturin, Valeriyan Shirkov, Nestor Kukolnik, Mikhail Godenov, Nikolai Markevich and Mikhail Glinka based on the poem of the same name by Alexander Pushkin

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

This season

In Hamburg

Ruslan und Ljudmila

Fri, Dec 19, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Ben Glassberg (Musical Director), Alice Meregaglia (Chorleitung), Gabriela Legun (Ljudmila), Ilia Kazakov (Ruslan), Giorgi Manoshvili (Farlaf), Nicky Spence (Bajan), Nicky Spence (Finn), Artem Krutko (Ratmir), Kristina Stanek (Naina), Natalia Tanasii (Gorislawa), Tigran Martirossian (Swetosar), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)

A REDISCOVERY - NATIONAL EPIC OR FAIRYTALE OPERA ABOUT THE FIGHT AGAINST EVIL? Who is good and who is evil in this fairytale opera - and why? The nucleus of Pushkin's setting of Ruslan and Lyudmila by Mikhail Glinka is the abduction of the princess's daughter Lyudmila from Kiev, the center of both the Russian and Ukrainian founding myths. For Ruslan, the warrior promised to her, this marks the beginning of an adventurous journey through the magical realm of a powerful dwarf. The rescue operation escalates into a showdown between the men fighting for Lyudmila. But she herself increasingly becomes a distant vision of love - the longed-for prize for heroism. In 1842, in the midst of the awakening Russian national sentiment, Glinka conceived the idea of a culturally united tsarist empire, in which he merged Slavic, Finnish and Arabic melos with the bel canto fashion of his time. Hungarian directors Alexandra Szemerédy and Magdolna Parditka look behind the magical façade of the legendary world and approach the characters with great curiosity for their most primal human fears, their emotional abrasions and abysses. They also follow trails that lead into authoritarian systems of yesterday and today - and ultimately end in a wedding. Or is the happy ending of this fairy tale pure utopia? Musical direction: Ben Glassberg Production, stage and costumes: Alexandra Szemerédy, Magdolna Parditka Chorus: Alice Meregaglia Dramaturgy: Judith Wiemers Grand magic opera in five acts (1842) Libretto: Konstantin Bakturin, Valeriyan Shirkov, Nestor Kukolnik, Mikhail Godenov, Nikolai Markevich and Mikhail Glinka based on the poem of the same name by Alexander Pushkin

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

This season

In Hamburg

L'elisir d'amore

Sat, Dec 20, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Omer Meir Wellber (Musical Director), Alice Meregaglia (Chorus), Juliana Grigoryan (Adina), René Barbera (Nemorino), Nicholas Mogg (Belcore), Erwin Schrott (Dulcamara), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)

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

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This season

In Hamburg

Tosca

Tue, Dec 23, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Scarpia, Rome’s chief of police, desires Tosca. Since her lover, the painter Cavaradossi, is among the government’s political enemies, Scarpia has him imprisoned. He orders Cavaradossi’s execution and hopes to force Tosca into granting him one night with her, in exchange for Cavaradossi’s release. She, however, thwarts his plans… Director: Robert Carsen Set and Costume Designer: Anthony Ward Lighting Designer: Davy Cunningham Premiere: 15.10.2000

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

Classical concerts featuringAlice Meregaglia

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Classical concerts featuring
Alice Meregaglia