Classical concerts featuring
Annika Schlicht

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Quick overview of musician Annika Schlicht by associated keywords

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These concerts featuring Annika Schlicht 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

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)

Upcoming Concerts

Concerts featuring Annika Schlicht 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

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

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

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

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

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

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

This season

In Hamburg

Ariadne auf Naxos

Sun, Nov 16, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Johannes Debus (Musical Director), Wolfram Koch (Theseus), Anja Kampe (Ariadne), Nadezhda Pavlova (Zerbinetta), Jamez McCorkle (Bacchus), Martin Gantner (Musiklehrer), Annika Schlicht (Komponist), Colin Aikins (Ein Offizier), William Desbiens (Perückenmacher), Keith Klein (Betrunkener Gast), Nicholas Mogg (Harlekin), Florian Panzieri (Scaramuccio), Daniel Kluge (Brighella), Olivia Warburton (Najade), Aebh Kelly (Dryade), Marie Maidowski (Echo), Philharmonisches Staatsorchester Hamburg (Orchestra)

"It is a simple and tremendous problem of life: that of fidelity", is how Hugo von Hofmannsthal described the core of their third opera together, Ariadne auf Naxos, in a letter to Richard Strauss. To live does not mean to persevere and hold on to what has been lost. If you want to live, you have to let go, forget, get over yourself - constantly transform yourself. This is what a young opera composer experiences in this work when he is confronted with the stubborn wishes of his patron; just like the protagonist of his opera, Ariadne, who, abandoned by her lover, Theseus, expects only death. But things turn out differently... Strauss and Hofmannsthal let the opposites collide: Tragedy and comedy, light music and grand opera, playfulness and seriousness. Thus, in the mirroring of art and life, between gaze and gaze, the unfathomable mystery of transformation takes place. Musical Direction: Kent Nagano Production and stage: Dmitri Tcherniakov Costumes: Elena Zaytseva Light Design: Gleb Filshtinsky Dramaturgy: Angela Beuerle, Michael Sangkuhl, Tatiana Werestchagina

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

This season

In Hamburg

Ariadne auf Naxos

Fri, Nov 21, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Johannes Debus (Musical Director), Wolfram Koch (Theseus), Anja Kampe (Ariadne), Jamez McCorkle (Bacchus), Martin Gantner (Musiklehrer), Annika Schlicht (Komponist), Colin Aikins (Ein Offizier), William Desbiens (Perückenmacher), Keith Klein (Betrunkener Gast), Nicholas Mogg (Harlekin), Florian Panzieri (Scaramuccio), Daniel Kluge (Brighella), Olivia Warburton (Najade), Aebh Kelly (Dryade), Marie Maidowski (Echo), Philharmonisches Staatsorchester Hamburg (Orchestra)

"It is a simple and tremendous problem of life: that of fidelity", is how Hugo von Hofmannsthal described the core of their third opera together, Ariadne auf Naxos, in a letter to Richard Strauss. To live does not mean to persevere and hold on to what has been lost. If you want to live, you have to let go, forget, get over yourself - constantly transform yourself. This is what a young opera composer experiences in this work when he is confronted with the stubborn wishes of his patron; just like the protagonist of his opera, Ariadne, who, abandoned by her lover, Theseus, expects only death. But things turn out differently... Strauss and Hofmannsthal let the opposites collide: Tragedy and comedy, light music and grand opera, playfulness and seriousness. Thus, in the mirroring of art and life, between gaze and gaze, the unfathomable mystery of transformation takes place. Musical Direction: Kent Nagano Production and stage: Dmitri Tcherniakov Costumes: Elena Zaytseva Light Design: Gleb Filshtinsky Dramaturgy: Angela Beuerle, Michael Sangkuhl, Tatiana Werestchagina

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

This season

In Hamburg

Ariadne auf Naxos

Fri, Nov 28, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

"It is a simple and tremendous problem of life: that of fidelity", is how Hugo von Hofmannsthal described the core of their third opera together, Ariadne auf Naxos, in a letter to Richard Strauss. To live does not mean to persevere and hold on to what has been lost. If you want to live, you have to let go, forget, get over yourself - constantly transform yourself. This is what a young opera composer experiences in this work when he is confronted with the stubborn wishes of his patron; just like the protagonist of his opera, Ariadne, who, abandoned by her lover, Theseus, expects only death. But things turn out differently... Strauss and Hofmannsthal let the opposites collide: Tragedy and comedy, light music and grand opera, playfulness and seriousness. Thus, in the mirroring of art and life, between gaze and gaze, the unfathomable mystery of transformation takes place. Musical Direction: Kent Nagano Production and stage: Dmitri Tcherniakov Costumes: Elena Zaytseva Light Design: Gleb Filshtinsky Dramaturgy: Angela Beuerle, Michael Sangkuhl, Tatiana Werestchagina

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

This season

In Hamburg

Ariadne auf Naxos

Thu, Dec 4, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

"It is a simple and tremendous problem of life: that of fidelity", is how Hugo von Hofmannsthal described the core of their third opera together, Ariadne auf Naxos, in a letter to Richard Strauss. To live does not mean to persevere and hold on to what has been lost. If you want to live, you have to let go, forget, get over yourself - constantly transform yourself. This is what a young opera composer experiences in this work when he is confronted with the stubborn wishes of his patron; just like the protagonist of his opera, Ariadne, who, abandoned by her lover, Theseus, expects only death. But things turn out differently... Strauss and Hofmannsthal let the opposites collide: Tragedy and comedy, light music and grand opera, playfulness and seriousness. Thus, in the mirroring of art and life, between gaze and gaze, the unfathomable mystery of transformation takes place. Musical Direction: Kent Nagano Production and stage: Dmitri Tcherniakov Costumes: Elena Zaytseva Light Design: Gleb Filshtinsky Dramaturgy: Angela Beuerle, Michael Sangkuhl, Tatiana Werestchagina

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

This season

In Hamburg

Pique Dame

Sat, Feb 7, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Timur Zangiev (Musical Director), Christian Günther (Chorus), Najmiddin Mavlyanov (Herman), Łukasz Golinski (Graf Tomsky), Kartal Karagedik (Fürst Jeletzky), Jürgen Sacher (Czekalinsky), Hubert Kowalczyk (Ssurin), Mziwamadoda Sipho Nodlayiya (Tschaplitzky), Keith Klein (Narumoff), Doris Soffel (Gräfin), Vida Miknevičiūtė (Lisa), Annika Schlicht (Pauline), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)

The outsider Herman loves Liza, who is engaged to Prince Yeletsky. Herman is a passionate gambler: he is desperate to win a fortune and reputation in order to win Liza’s heart. When he learns that her grandmother knows the secret of the three winning cards, fate takes its course. Director: Willy Decker Set and Costume Designer: Wolfgang Gussmann Lighting Designer: Hans Toelstede Premiere: 25.05.2003

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

This season

In Hamburg

Pique Dame

Wed, Feb 18, 2026, 18:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

The outsider Herman loves Liza, who is engaged to Prince Yeletsky. Herman is a passionate gambler: he is desperate to win a fortune and reputation in order to win Liza’s heart. When he learns that her grandmother knows the secret of the three winning cards, fate takes its course. Director: Willy Decker Set and Costume Designer: Wolfgang Gussmann Lighting Designer: Hans Toelstede Premiere: 25.05.2003

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

This season

In Hamburg

Pique Dame

Sun, Mar 1, 2026, 16:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

The outsider Herman loves Liza, who is engaged to Prince Yeletsky. Herman is a passionate gambler: he is desperate to win a fortune and reputation in order to win Liza’s heart. When he learns that her grandmother knows the secret of the three winning cards, fate takes its course. Director: Willy Decker Set and Costume Designer: Wolfgang Gussmann Lighting Designer: Hans Toelstede Premiere: 25.05.2003

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

This season

In Hamburg

Pique Dame

Fri, Mar 13, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

The outsider Herman loves Liza, who is engaged to Prince Yeletsky. Herman is a passionate gambler: he is desperate to win a fortune and reputation in order to win Liza’s heart. When he learns that her grandmother knows the secret of the three winning cards, fate takes its course. Director: Willy Decker Set and Costume Designer: Wolfgang Gussmann Lighting Designer: Hans Toelstede Premiere: 25.05.2003

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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)

This season

In Hamburg

Women's love and death

Wed, Apr 15, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

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)

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)

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)

This season

In Hamburg

Women's love and death

Sat, Apr 25, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

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)

This season

In Hamburg

Women's love and death

Fri, May 15, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

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)

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)

This season

In Hamburg

Women's love and death

Fri, May 22, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

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)

This season

In Hamburg

Tristan und Isolde (Tristan and Isolde)

Sun, Jun 7, 2026, 16:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Omer Meir Wellber (Musical Director), Samuel Sakker (Tristan), Franz-Josef Selig (König Marke), Allison Oakes (Isolde), Christoph Pohl (Kurwenal), Nicholas Mogg (Melot), Annika Schlicht (Brangäne), Daniel Kluge (Ein Hirt), Keith Klein (Ein Steuermann), Dovlet Nurgeldiyev (Stimme eines jungen Seemanns), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)

Inspired by his romantic love for Mathilde Wesendonck, Richard Wagner created one of the most beautiful operas in music history. This season, the Hamburg State Opera revives its legendary production by Ruth Berghaus of 1988. Director: Ruth Berghaus Set Design: Hans-Dieter Schaal Costume Design: Marie-Luise Strandt Dramaturgy: Sigrid Neef Premiere: 13.03.1988

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

This season

In Hamburg

Tristan und Isolde (Tristan and Isolde)

Sun, Jun 14, 2026, 16:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Inspired by his romantic love for Mathilde Wesendonck, Richard Wagner created one of the most beautiful operas in music history. This season, the Hamburg State Opera revives its legendary production by Ruth Berghaus of 1988. Director: Ruth Berghaus Set Design: Hans-Dieter Schaal Costume Design: Marie-Luise Strandt Dramaturgy: Sigrid Neef Premiere: 13.03.1988

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

This season

In Hamburg

Tristan und Isolde (Tristan and Isolde)

Sun, Jun 21, 2026, 17:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Omer Meir Wellber (Musical Director), Christian Günther (Chorus), Samuel Sakker (Tristan), Franz-Josef Selig (König Marke), Allison Oakes (Isolde), Christoph Pohl (Kurwenal), Nicholas Mogg (Melot), Annika Schlicht (Brangäne), Daniel Kluge (Ein Hirt), Keith Klein (Ein Steuermann), Dovlet Nurgeldiyev (Stimme eines jungen Seemanns), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)

Inspired by his romantic love for Mathilde Wesendonck, Richard Wagner created one of the most beautiful operas in music history. This season, the Hamburg State Opera revives its legendary production by Ruth Berghaus of 1988. Director: Ruth Berghaus Set Design: Hans-Dieter Schaal Costume Design: Marie-Luise Strandt Dramaturgy: Sigrid Neef Premiere: 13.03.1988

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

Classical concerts featuringAnnika Schlicht

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Classical concerts featuring
Annika Schlicht