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Classical concerts featuring
Ambur Braid

Overview

Quick overview of musician Ambur Braid by associated keywords

CitiesFrequently performs in

Hamburg
Germany
Hamburg
9

ProgramFrequently performs

Works by
Robert Schumann / Bela Bartok / Alexander Zemlinsky
8
Richard Strauss
Works by
Richard Strauss
1

MusiciansFrequently collaborate with

Musician
Johan Reuter
16
orchestra
Philharmonisches Staatsorchester Hamburg
9
Musician
Annika Schlicht
8
Musician
Karina Canellakis
8
Musician
Thomas Blondelle
8

New Arrivals

These concerts featuring Ambur Braid became visible lately at Concert Pulse.

Artistic depiction of the event
This season
In Hamburg

Salome

Sun, Oct 5, 2025, 18:00
Hamburgische Staatsoper, Großes Haus (Hamburg)
Omer Meir Wellber (Musical Director), Wolfgang Ablinger-Sperrhacke (Herodes), Doris Soffel (Herodias), Ambur Braid (Salome), Kyle Ketelsen (Jochanaan), Aebh Kelly (Page), Oleksiy Palchykov (Narraboth), James Kryshak (1. Jude), Colin Aikins (2. Jude), Daniel Kluge (3. Jude), Mziwamadoda Sipho Nodlayiya (4. Jude), Keith Klein (5. Jude), Nicholas Mogg (1. Nazarener), William Desbiens (2. Nazarener), Hubert Kowalczyk (1. Soldat), Philharmonisches Staatsorchester Hamburg (Orchestra)
Under the face of the wandering moon, spirit and body quarrel in all their greatness and wretchedness until the blood of two bodies flows. Strauss remains close to Wilde's re-creation of the biblical material, which leads Salome from her mother's tool to autonomy. It is she who, in her unfulfilled desire for the liberatingly different, the body of the prophet Jochanaan, seeks revenge and demands his head - a price the male-dominated society around Herod is willing to pay for their dance. Now that Salome holds his severed head in her hands, she can kiss Jochanaan, possess him if not alive, then dead. As if under a burning glass, Strauss pours Oscar Wilde's demonic dramaturgy into sound like an eruption of the psyche, accompanying his protagonist from her failed escape from the decadence of her existence to her death. Production: Dmitri Tcherniakov Costumes: Elena Zaytseva Lighting: Gleb Filshtinsky Dramaturgy: Tatiana Verestchagina, Janina Zell
Info & Ticket (www.staatsorchester-hamburg.de)
Artistic depiction of the event
This season
In Hamburg

Women's love and death

Sun, Apr 12, 2026, 18:00
Hamburgische Staatsoper, Großes Haus (Hamburg)
Karina Canellakis (Musical Director), Kate Lindsey (Sängerin), Johan Reuter (Blaubart), Johan Reuter (Simone), Annika Schlicht (Judith), Ambur Braid (Bianca), Èric le Sage (Piano), Thomas Blondelle (Guido), Philharmonisches Staatsorchester Hamburg (Orchestra)
THREE MASTERPIECES - TWO CENTURIES - ONE NARRATIVE WOMEN'S LOVE AND LIFE Eight songs for voice and piano op. 42 (1840) Composition: Robert Schumann Libretto: Adelbert von Chamisso BLUEBEARD'S CASTLE Opera in one act (1918) Composition: Béla Bartók Libretto: Béla Balázs A FLORENTINE TRAGEDY Opera in one act (1917) Composition: Alexander Zemlinsky Libretto: Alexander Zemlinsky after Oscar Wilde's poem of the same name poem of the same name in the translation by Max Meyerfeld Times change, but the place doesn't. Tobias Kratzer, director of Frauenliebe und -sterben, combines masterpieces by three composers and wraps them in a narrative that resembles a great family epic. In the process, the supposed individual fates become panoramas of the customs and morals of our past and present. Robert Schumann's song cycle Frauenliebe und -leben (Women's Love and Life) - 1840 depicts the fate of countless women: first love, marriage, marriage, birth and finally death. The feelings of the nameless protagonist revolve around the needs of her husband, who becomes more and more distant from her. A generation later, the current master of the house, Duke Bluebeard, brings home a new wife: Judith. The two are magically attracted to each other - she fascinated by the mysterious stranger, he by her splendor. But little by little, Judith discovers Bluebeard's past life and the abysses that lurk there. And another leap in time: in the Florentine tragedy, we see a completely new marriage structure - bourgeois, but thoroughly liberal. When Simone catches his wife Bianca having an affair with the young Guido, he forgives her. But traditional gender roles increasingly dominate. The ménage à trois escalates. In short: do people desire the same in all times? Where are the differences? Musical direction: Karina Canellakis Production: Tobias Kratzer Stage and costumes: Rainer Sellmaier Video: Manuel Braun Lighting: Michael Bauer Dramaturgy: Henriette von Schnakenburg Eight songs for voice and piano op. 42 (1840) / Opera in one act (1918) / Opera in one act (1917) Texts by: Adelbert von Chamisso / Béla Balázs / Alexander Zemlinsky after Oscar
Info & Ticket (www.staatsorchester-hamburg.de)
Artistic depiction of the event
This season
In Hamburg

Women's love and death

Wed, Apr 15, 2026, 19:00
Hamburgische Staatsoper, Großes Haus (Hamburg)
Karina Canellakis (Musical Director), Kate Lindsey (Sängerin), Johan Reuter (Blaubart), Johan Reuter (Simone), Annika Schlicht (Judith), Ambur Braid (Bianca), Èric le Sage (Piano), Thomas Blondelle (Guido), Philharmonisches Staatsorchester Hamburg (Orchestra)
THREE MASTERPIECES - TWO CENTURIES - ONE NARRATIVE WOMEN'S LOVE AND LIFE Eight songs for voice and piano op. 42 (1840) Composition: Robert Schumann Libretto: Adelbert von Chamisso BLUEBEARD'S CASTLE Opera in one act (1918) Composition: Béla Bartók Libretto: Béla Balázs A FLORENTINE TRAGEDY Opera in one act (1917) Composition: Alexander Zemlinsky Libretto: Alexander Zemlinsky after Oscar Wilde's poem of the same name poem of the same name in the translation by Max Meyerfeld Times change, but the place doesn't. Tobias Kratzer, director of Frauenliebe und -sterben, combines masterpieces by three composers and wraps them in a narrative that resembles a great family epic. In the process, the supposed individual fates become panoramas of the customs and morals of our past and present. Robert Schumann's song cycle Frauenliebe und -leben (Women's Love and Life) - 1840 depicts the fate of countless women: first love, marriage, marriage, birth and finally death. The feelings of the nameless protagonist revolve around the needs of her husband, who becomes more and more distant from her. A generation later, the current master of the house, Duke Bluebeard, brings home a new wife: Judith. The two are magically attracted to each other - she fascinated by the mysterious stranger, he by her splendor. But little by little, Judith discovers Bluebeard's past life and the abysses that lurk there. And another leap in time: in the Florentine tragedy, we see a completely new marriage structure - bourgeois, but thoroughly liberal. When Simone catches his wife Bianca having an affair with the young Guido, he forgives her. But traditional gender roles increasingly dominate. The ménage à trois escalates. In short: do people desire the same in all times? Where are the differences? Musical direction: Karina Canellakis Production: Tobias Kratzer Stage and costumes: Rainer Sellmaier Video: Manuel Braun Lighting: Michael Bauer Dramaturgy: Henriette von Schnakenburg Eight songs for voice and piano op. 42 (1840) / Opera in one act (1918) / Opera in one act (1917) Texts by: Adelbert von Chamisso / Béla Balázs / Alexander Zemlinsky after Oscar
Info & Ticket (www.staatsorchester-hamburg.de)

Upcoming Concerts

Concerts featuring Ambur Braid in season 2024/25 or later

Artistic depiction of the event
This season
In Hamburg

Salome

Sun, Oct 5, 2025, 18:00
Hamburgische Staatsoper, Großes Haus (Hamburg)
Omer Meir Wellber (Musical Director), Wolfgang Ablinger-Sperrhacke (Herodes), Doris Soffel (Herodias), Ambur Braid (Salome), Kyle Ketelsen (Jochanaan), Aebh Kelly (Page), Oleksiy Palchykov (Narraboth), James Kryshak (1. Jude), Colin Aikins (2. Jude), Daniel Kluge (3. Jude), Mziwamadoda Sipho Nodlayiya (4. Jude), Keith Klein (5. Jude), Nicholas Mogg (1. Nazarener), William Desbiens (2. Nazarener), Hubert Kowalczyk (1. Soldat), Philharmonisches Staatsorchester Hamburg (Orchestra)
Under the face of the wandering moon, spirit and body quarrel in all their greatness and wretchedness until the blood of two bodies flows. Strauss remains close to Wilde's re-creation of the biblical material, which leads Salome from her mother's tool to autonomy. It is she who, in her unfulfilled desire for the liberatingly different, the body of the prophet Jochanaan, seeks revenge and demands his head - a price the male-dominated society around Herod is willing to pay for their dance. Now that Salome holds his severed head in her hands, she can kiss Jochanaan, possess him if not alive, then dead. As if under a burning glass, Strauss pours Oscar Wilde's demonic dramaturgy into sound like an eruption of the psyche, accompanying his protagonist from her failed escape from the decadence of her existence to her death. Production: Dmitri Tcherniakov Costumes: Elena Zaytseva Lighting: Gleb Filshtinsky Dramaturgy: Tatiana Verestchagina, Janina Zell
Info & Ticket (www.staatsorchester-hamburg.de)
Artistic depiction of the event
This season
In Hamburg

Women's love and death

Sun, Apr 12, 2026, 18:00
Hamburgische Staatsoper, Großes Haus (Hamburg)
Karina Canellakis (Musical Director), Kate Lindsey (Sängerin), Johan Reuter (Blaubart), Johan Reuter (Simone), Annika Schlicht (Judith), Ambur Braid (Bianca), Èric le Sage (Piano), Thomas Blondelle (Guido), Philharmonisches Staatsorchester Hamburg (Orchestra)
THREE MASTERPIECES - TWO CENTURIES - ONE NARRATIVE WOMEN'S LOVE AND LIFE Eight songs for voice and piano op. 42 (1840) Composition: Robert Schumann Libretto: Adelbert von Chamisso BLUEBEARD'S CASTLE Opera in one act (1918) Composition: Béla Bartók Libretto: Béla Balázs A FLORENTINE TRAGEDY Opera in one act (1917) Composition: Alexander Zemlinsky Libretto: Alexander Zemlinsky after Oscar Wilde's poem of the same name poem of the same name in the translation by Max Meyerfeld Times change, but the place doesn't. Tobias Kratzer, director of Frauenliebe und -sterben, combines masterpieces by three composers and wraps them in a narrative that resembles a great family epic. In the process, the supposed individual fates become panoramas of the customs and morals of our past and present. Robert Schumann's song cycle Frauenliebe und -leben (Women's Love and Life) - 1840 depicts the fate of countless women: first love, marriage, marriage, birth and finally death. The feelings of the nameless protagonist revolve around the needs of her husband, who becomes more and more distant from her. A generation later, the current master of the house, Duke Bluebeard, brings home a new wife: Judith. The two are magically attracted to each other - she fascinated by the mysterious stranger, he by her splendor. But little by little, Judith discovers Bluebeard's past life and the abysses that lurk there. And another leap in time: in the Florentine tragedy, we see a completely new marriage structure - bourgeois, but thoroughly liberal. When Simone catches his wife Bianca having an affair with the young Guido, he forgives her. But traditional gender roles increasingly dominate. The ménage à trois escalates. In short: do people desire the same in all times? Where are the differences? Musical direction: Karina Canellakis Production: Tobias Kratzer Stage and costumes: Rainer Sellmaier Video: Manuel Braun Lighting: Michael Bauer Dramaturgy: Henriette von Schnakenburg Eight songs for voice and piano op. 42 (1840) / Opera in one act (1918) / Opera in one act (1917) Texts by: Adelbert von Chamisso / Béla Balázs / Alexander Zemlinsky after Oscar
Info & Ticket (www.staatsorchester-hamburg.de)
Artistic depiction of the event
This season
In Hamburg

Women's love and death

Wed, Apr 15, 2026, 19:00
Hamburgische Staatsoper, Großes Haus (Hamburg)
Karina Canellakis (Musical Director), Kate Lindsey (Sängerin), Johan Reuter (Blaubart), Johan Reuter (Simone), Annika Schlicht (Judith), Ambur Braid (Bianca), Èric le Sage (Piano), Thomas Blondelle (Guido), Philharmonisches Staatsorchester Hamburg (Orchestra)
THREE MASTERPIECES - TWO CENTURIES - ONE NARRATIVE WOMEN'S LOVE AND LIFE Eight songs for voice and piano op. 42 (1840) Composition: Robert Schumann Libretto: Adelbert von Chamisso BLUEBEARD'S CASTLE Opera in one act (1918) Composition: Béla Bartók Libretto: Béla Balázs A FLORENTINE TRAGEDY Opera in one act (1917) Composition: Alexander Zemlinsky Libretto: Alexander Zemlinsky after Oscar Wilde's poem of the same name poem of the same name in the translation by Max Meyerfeld Times change, but the place doesn't. Tobias Kratzer, director of Frauenliebe und -sterben, combines masterpieces by three composers and wraps them in a narrative that resembles a great family epic. In the process, the supposed individual fates become panoramas of the customs and morals of our past and present. Robert Schumann's song cycle Frauenliebe und -leben (Women's Love and Life) - 1840 depicts the fate of countless women: first love, marriage, marriage, birth and finally death. The feelings of the nameless protagonist revolve around the needs of her husband, who becomes more and more distant from her. A generation later, the current master of the house, Duke Bluebeard, brings home a new wife: Judith. The two are magically attracted to each other - she fascinated by the mysterious stranger, he by her splendor. But little by little, Judith discovers Bluebeard's past life and the abysses that lurk there. And another leap in time: in the Florentine tragedy, we see a completely new marriage structure - bourgeois, but thoroughly liberal. When Simone catches his wife Bianca having an affair with the young Guido, he forgives her. But traditional gender roles increasingly dominate. The ménage à trois escalates. In short: do people desire the same in all times? Where are the differences? Musical direction: Karina Canellakis Production: Tobias Kratzer Stage and costumes: Rainer Sellmaier Video: Manuel Braun Lighting: Michael Bauer Dramaturgy: Henriette von Schnakenburg Eight songs for voice and piano op. 42 (1840) / Opera in one act (1918) / Opera in one act (1917) Texts by: Adelbert von Chamisso / Béla Balázs / Alexander Zemlinsky after Oscar
Info & Ticket (www.staatsorchester-hamburg.de)
Artistic depiction of the event
This season
In Hamburg

Women's love and death

Fri, Apr 17, 2026, 19:00
Hamburgische Staatsoper, Großes Haus (Hamburg)
Karina Canellakis (Musical Director), Annette Dasch (Sängerin), Johan Reuter (Blaubart), Johan Reuter (Simone), Annika Schlicht (Judith), Ambur Braid (Bianca), Wolfram Rieger (Piano), Thomas Blondelle (Guido), Philharmonisches Staatsorchester Hamburg (Orchestra)
THREE MASTERPIECES - TWO CENTURIES - ONE NARRATIVE WOMEN'S LOVE AND LIFE Eight songs for voice and piano op. 42 (1840) Composition: Robert Schumann Libretto: Adelbert von Chamisso BLUEBEARD'S CASTLE Opera in one act (1918) Composition: Béla Bartók Libretto: Béla Balázs A FLORENTINE TRAGEDY Opera in one act (1917) Composition: Alexander Zemlinsky Libretto: Alexander Zemlinsky after Oscar Wilde's poem of the same name poem of the same name in the translation by Max Meyerfeld Times change, but the place doesn't. Tobias Kratzer, director of Frauenliebe und -sterben, combines masterpieces by three composers and wraps them in a narrative that resembles a great family epic. In the process, the supposed individual fates become panoramas of the customs and morals of our past and present. Robert Schumann's song cycle Frauenliebe und -leben (Women's Love and Life) - 1840 depicts the fate of countless women: first love, marriage, marriage, birth and finally death. The feelings of the nameless protagonist revolve around the needs of her husband, who becomes more and more distant from her. A generation later, the current master of the house, Duke Bluebeard, brings home a new wife: Judith. The two are magically attracted to each other - she fascinated by the mysterious stranger, he by her splendor. But little by little, Judith discovers Bluebeard's past life and the abysses that lurk there. And another leap in time: in the Florentine tragedy, we see a completely new marriage structure - bourgeois, but thoroughly liberal. When Simone catches his wife Bianca having an affair with the young Guido, he forgives her. But traditional gender roles increasingly dominate. The ménage à trois escalates. In short: do people desire the same in all times? Where are the differences? Musical direction: Karina Canellakis Production: Tobias Kratzer Stage and costumes: Rainer Sellmaier Video: Manuel Braun Lighting: Michael Bauer Dramaturgy: Henriette von Schnakenburg Eight songs for voice and piano op. 42 (1840) / Opera in one act (1918) / Opera in one act (1917) Texts by: Adelbert von Chamisso / Béla Balázs / Alexander Zemlinsky after Oscar
Info & Ticket (www.staatsorchester-hamburg.de)
Artistic depiction of the event
This season
In Hamburg

Women's love and death

Wed, Apr 22, 2026, 19:00
Hamburgische Staatsoper, Großes Haus (Hamburg)
Karina Canellakis (Musical Director), Marlis Petersen (Sängerin), Johan Reuter (Blaubart), Johan Reuter (Simone), Annika Schlicht (Judith), Ambur Braid (Bianca), Matthias Lademann (Piano), Thomas Blondelle (Guido), Philharmonisches Staatsorchester Hamburg (Orchestra)
THREE MASTERPIECES - TWO CENTURIES - ONE NARRATIVE WOMEN'S LOVE AND LIFE Eight songs for voice and piano op. 42 (1840) Composition: Robert Schumann Libretto: Adelbert von Chamisso BLUEBEARD'S CASTLE Opera in one act (1918) Composition: Béla Bartók Libretto: Béla Balázs A FLORENTINE TRAGEDY Opera in one act (1917) Composition: Alexander Zemlinsky Libretto: Alexander Zemlinsky after Oscar Wilde's poem of the same name poem of the same name in the translation by Max Meyerfeld Times change, but the place doesn't. Tobias Kratzer, director of Frauenliebe und -sterben, combines masterpieces by three composers and wraps them in a narrative that resembles a great family epic. In the process, the supposed individual fates become panoramas of the customs and morals of our past and present. Robert Schumann's song cycle Frauenliebe und -leben (Women's Love and Life) - 1840 depicts the fate of countless women: first love, marriage, marriage, birth and finally death. The feelings of the nameless protagonist revolve around the needs of her husband, who becomes more and more distant from her. A generation later, the current master of the house, Duke Bluebeard, brings home a new wife: Judith. The two are magically attracted to each other - she fascinated by the mysterious stranger, he by her splendor. But little by little, Judith discovers Bluebeard's past life and the abysses that lurk there. And another leap in time: in the Florentine tragedy, we see a completely new marriage structure - bourgeois, but thoroughly liberal. When Simone catches his wife Bianca having an affair with the young Guido, he forgives her. But traditional gender roles increasingly dominate. The ménage à trois escalates. In short: do people desire the same in all times? Where are the differences? Musical direction: Karina Canellakis Production: Tobias Kratzer Stage and costumes: Rainer Sellmaier Video: Manuel Braun Lighting: Michael Bauer Dramaturgy: Henriette von Schnakenburg Eight songs for voice and piano op. 42 (1840) / Opera in one act (1918) / Opera in one act (1917) Texts by: Adelbert von Chamisso / Béla Balázs / Alexander Zemlinsky after Oscar
Info & Ticket (www.staatsorchester-hamburg.de)
Artistic depiction of the event
This season
In Hamburg

Women's love and death

Sat, Apr 25, 2026, 19:00
Hamburgische Staatsoper, Großes Haus (Hamburg)
Karina Canellakis (Musical Director), Marlis Petersen (Sängerin), Johan Reuter (Blaubart), Johan Reuter (Simone), Annika Schlicht (Judith), Ambur Braid (Bianca), Matthias Lademann (Piano), Thomas Blondelle (Guido), Philharmonisches Staatsorchester Hamburg (Orchestra)
THREE MASTERPIECES - TWO CENTURIES - ONE NARRATIVE WOMEN'S LOVE AND LIFE Eight songs for voice and piano op. 42 (1840) Composition: Robert Schumann Libretto: Adelbert von Chamisso BLUEBEARD'S CASTLE Opera in one act (1918) Composition: Béla Bartók Libretto: Béla Balázs A FLORENTINE TRAGEDY Opera in one act (1917) Composition: Alexander Zemlinsky Libretto: Alexander Zemlinsky after Oscar Wilde's poem of the same name poem of the same name in the translation by Max Meyerfeld Times change, but the place doesn't. Tobias Kratzer, director of Frauenliebe und -sterben, combines masterpieces by three composers and wraps them in a narrative that resembles a great family epic. In the process, the supposed individual fates become panoramas of the customs and morals of our past and present. Robert Schumann's song cycle Frauenliebe und -leben (Women's Love and Life) - 1840 depicts the fate of countless women: first love, marriage, marriage, birth and finally death. The feelings of the nameless protagonist revolve around the needs of her husband, who becomes more and more distant from her. A generation later, the current master of the house, Duke Bluebeard, brings home a new wife: Judith. The two are magically attracted to each other - she fascinated by the mysterious stranger, he by her splendor. But little by little, Judith discovers Bluebeard's past life and the abysses that lurk there. And another leap in time: in the Florentine tragedy, we see a completely new marriage structure - bourgeois, but thoroughly liberal. When Simone catches his wife Bianca having an affair with the young Guido, he forgives her. But traditional gender roles increasingly dominate. The ménage à trois escalates. In short: do people desire the same in all times? Where are the differences? Musical direction: Karina Canellakis Production: Tobias Kratzer Stage and costumes: Rainer Sellmaier Video: Manuel Braun Lighting: Michael Bauer Dramaturgy: Henriette von Schnakenburg Eight songs for voice and piano op. 42 (1840) / Opera in one act (1918) / Opera in one act (1917) Texts by: Adelbert von Chamisso / Béla Balázs / Alexander Zemlinsky after Oscar
Info & Ticket (www.staatsorchester-hamburg.de)
Artistic depiction of the event
This season
In Hamburg

Women's love and death

Fri, May 15, 2026, 19:00
Hamburgische Staatsoper, Großes Haus (Hamburg)
Karina Canellakis (Musical Director), Annette Dasch (Sängerin), Johan Reuter (Blaubart), Johan Reuter (Simone), Annika Schlicht (Judith), Ambur Braid (Bianca), Wolfram Rieger (Piano), Thomas Blondelle (Guido), Philharmonisches Staatsorchester Hamburg (Orchestra)
THREE MASTERPIECES - TWO CENTURIES - ONE NARRATIVE WOMEN'S LOVE AND LIFE Eight songs for voice and piano op. 42 (1840) Composition: Robert Schumann Libretto: Adelbert von Chamisso BLUEBEARD'S CASTLE Opera in one act (1918) Composition: Béla Bartók Libretto: Béla Balázs A FLORENTINE TRAGEDY Opera in one act (1917) Composition: Alexander Zemlinsky Libretto: Alexander Zemlinsky after Oscar Wilde's poem of the same name poem of the same name in the translation by Max Meyerfeld Times change, but the place doesn't. Tobias Kratzer, director of Frauenliebe und -sterben, combines masterpieces by three composers and wraps them in a narrative that resembles a great family epic. In the process, the supposed individual fates become panoramas of the customs and morals of our past and present. Robert Schumann's song cycle Frauenliebe und -leben (Women's Love and Life) - 1840 depicts the fate of countless women: first love, marriage, marriage, birth and finally death. The feelings of the nameless protagonist revolve around the needs of her husband, who becomes more and more distant from her. A generation later, the current master of the house, Duke Bluebeard, brings home a new wife: Judith. The two are magically attracted to each other - she fascinated by the mysterious stranger, he by her splendor. But little by little, Judith discovers Bluebeard's past life and the abysses that lurk there. And another leap in time: in the Florentine tragedy, we see a completely new marriage structure - bourgeois, but thoroughly liberal. When Simone catches his wife Bianca having an affair with the young Guido, he forgives her. But traditional gender roles increasingly dominate. The ménage à trois escalates. In short: do people desire the same in all times? Where are the differences? Musical direction: Karina Canellakis Production: Tobias Kratzer Stage and costumes: Rainer Sellmaier Video: Manuel Braun Lighting: Michael Bauer Dramaturgy: Henriette von Schnakenburg Eight songs for voice and piano op. 42 (1840) / Opera in one act (1918) / Opera in one act (1917) Texts by: Adelbert von Chamisso / Béla Balázs / Alexander Zemlinsky after Oscar
Info & Ticket (www.staatsorchester-hamburg.de)
Artistic depiction of the event
This season
In Hamburg

Women's love and death

Wed, May 20, 2026, 19:00
Hamburgische Staatsoper, Großes Haus (Hamburg)
Karina Canellakis (Musical Director), Elsa Dreisig (Sängerin), Johan Reuter (Blaubart), Johan Reuter (Simone), Annika Schlicht (Judith), Ambur Braid (Bianca), Joseph Middleton (Piano), Thomas Blondelle (Guido), Philharmonisches Staatsorchester Hamburg (Orchestra)
THREE MASTERPIECES - TWO CENTURIES - ONE NARRATIVE WOMEN'S LOVE AND LIFE Eight songs for voice and piano op. 42 (1840) Composition: Robert Schumann Libretto: Adelbert von Chamisso BLUEBEARD'S CASTLE Opera in one act (1918) Composition: Béla Bartók Libretto: Béla Balázs A FLORENTINE TRAGEDY Opera in one act (1917) Composition: Alexander Zemlinsky Libretto: Alexander Zemlinsky after Oscar Wilde's poem of the same name poem of the same name in the translation by Max Meyerfeld Times change, but the place doesn't. Tobias Kratzer, director of Frauenliebe und -sterben, combines masterpieces by three composers and wraps them in a narrative that resembles a great family epic. In the process, the supposed individual fates become panoramas of the customs and morals of our past and present. Robert Schumann's song cycle Frauenliebe und -leben (Women's Love and Life) - 1840 depicts the fate of countless women: first love, marriage, marriage, birth and finally death. The feelings of the nameless protagonist revolve around the needs of her husband, who becomes more and more distant from her. A generation later, the current master of the house, Duke Bluebeard, brings home a new wife: Judith. The two are magically attracted to each other - she fascinated by the mysterious stranger, he by her splendor. But little by little, Judith discovers Bluebeard's past life and the abysses that lurk there. And another leap in time: in the Florentine tragedy, we see a completely new marriage structure - bourgeois, but thoroughly liberal. When Simone catches his wife Bianca having an affair with the young Guido, he forgives her. But traditional gender roles increasingly dominate. The ménage à trois escalates. In short: do people desire the same in all times? Where are the differences? Musical direction: Karina Canellakis Production: Tobias Kratzer Stage and costumes: Rainer Sellmaier Video: Manuel Braun Lighting: Michael Bauer Dramaturgy: Henriette von Schnakenburg Eight songs for voice and piano op. 42 (1840) / Opera in one act (1918) / Opera in one act (1917) Texts by: Adelbert von Chamisso / Béla Balázs / Alexander Zemlinsky after Oscar
Info & Ticket (www.staatsorchester-hamburg.de)
Artistic depiction of the event
This season
In Hamburg

Women's love and death

Fri, May 22, 2026, 19:00
Hamburgische Staatsoper, Großes Haus (Hamburg)
Karina Canellakis (Musical Director), Elsa Dreisig (Sängerin), Johan Reuter (Blaubart), Johan Reuter (Simone), Annika Schlicht (Judith), Ambur Braid (Bianca), Joseph Middleton (Piano), Thomas Blondelle (Guido), Philharmonisches Staatsorchester Hamburg (Orchestra)
THREE MASTERPIECES - TWO CENTURIES - ONE NARRATIVE WOMEN'S LOVE AND LIFE Eight songs for voice and piano op. 42 (1840) Composition: Robert Schumann Libretto: Adelbert von Chamisso BLUEBEARD'S CASTLE Opera in one act (1918) Composition: Béla Bartók Libretto: Béla Balázs A FLORENTINE TRAGEDY Opera in one act (1917) Composition: Alexander Zemlinsky Libretto: Alexander Zemlinsky after Oscar Wilde's poem of the same name poem of the same name in the translation by Max Meyerfeld Times change, but the place doesn't. Tobias Kratzer, director of Frauenliebe und -sterben, combines masterpieces by three composers and wraps them in a narrative that resembles a great family epic. In the process, the supposed individual fates become panoramas of the customs and morals of our past and present. Robert Schumann's song cycle Frauenliebe und -leben (Women's Love and Life) - 1840 depicts the fate of countless women: first love, marriage, marriage, birth and finally death. The feelings of the nameless protagonist revolve around the needs of her husband, who becomes more and more distant from her. A generation later, the current master of the house, Duke Bluebeard, brings home a new wife: Judith. The two are magically attracted to each other - she fascinated by the mysterious stranger, he by her splendor. But little by little, Judith discovers Bluebeard's past life and the abysses that lurk there. And another leap in time: in the Florentine tragedy, we see a completely new marriage structure - bourgeois, but thoroughly liberal. When Simone catches his wife Bianca having an affair with the young Guido, he forgives her. But traditional gender roles increasingly dominate. The ménage à trois escalates. In short: do people desire the same in all times? Where are the differences? Musical direction: Karina Canellakis Production: Tobias Kratzer Stage and costumes: Rainer Sellmaier Video: Manuel Braun Lighting: Michael Bauer Dramaturgy: Henriette von Schnakenburg Eight songs for voice and piano op. 42 (1840) / Opera in one act (1918) / Opera in one act (1917) Texts by: Adelbert von Chamisso / Béla Balázs / Alexander Zemlinsky after Oscar
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