Classical concerts featuring
Ilia Kazakov

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Quick overview of musician Ilia Kazakov by associated keywords

New Arrivals

These concerts featuring Ilia Kazakov became visible lately at Concert Pulse.

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

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

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

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)

Upcoming Concerts

Concerts featuring Ilia Kazakov in season 2024/25 or later

This season

In Hamburg

Ruslan und Ljudmila

Sun, Nov 9, 2025, 18:00

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

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

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

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

La Traviata

Wed, Jan 7, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Carlo Goldstein (Musical Director), Alice Meregaglia (Chorus), Elbenita Kajtazi (Violetta Valery), Ida Aldrian (Flora Bervoix), Aebh Kelly (Annina), Anthony Ciaramitaro (Alfredo Germont), Kartal Karagedik (Giorgio Germont), Daniel Kluge (Gastone), Nicholas Mogg (Il Barone Douphol), Hubert Kowalczyk (Il Marchese d'Obigny), Ilia Kazakov (Il Dottore Grenvil), Mziwamadoda Sipho Nodlayiya (Giuseppe), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)

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

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

This season

In Hamburg

La Traviata

Sun, Jan 11, 2026, 16:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Omer Meir Wellber (Musical Director), Alice Meregaglia (Chorus), Elbenita Kajtazi (Violetta Valery), Ida Aldrian (Flora Bervoix), Aebh Kelly (Annina), Anthony Ciaramitaro (Alfredo Germont), Kartal Karagedik (Giorgio Germont), Daniel Kluge (Gastone), Nicholas Mogg (Il Barone Douphol), Hubert Kowalczyk (Il Marchese d'Obigny), Ilia Kazakov (Il Dottore Grenvil), Mziwamadoda Sipho Nodlayiya (Giuseppe), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)

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

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

This season

In Hamburg

La Traviata

Fri, Jan 16, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

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

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

This season

In Hamburg

La Traviata

Sat, Jan 31, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

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

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

This season

In Hamburg

La Traviata

Tue, Feb 3, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Carlo Goldstein (Musical Director), Alice Meregaglia (Chorus), Elbenita Kajtazi (Violetta Valery), Kady Evanyshyn (Flora Bervoix), Aebh Kelly (Annina), Anthony Ciaramitaro (Alfredo Germont), Kartal Karagedik (Giorgio Germont), Peter Galliard (Gastone), Nicholas Mogg (Il Barone Douphol), Hubert Kowalczyk (Il Marchese d'Obigny), Ilia Kazakov (Il Dottore Grenvil), Mziwamadoda Sipho Nodlayiya (Giuseppe), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)

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

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

This season

In Hamburg

Maria Stuarda

Sun, Feb 15, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Stefano Montanari (Musical Director), Alice Meregaglia (Chorleitung), Raffaella Lupinacci (Elisabetta), Mariangela Sicilia (Maria Stuarda), Elizaveta Kulagina (Anna Kennedy), Oleksiy Palchykov (Roberto), Oleksiy Palchykov (Graf von Leicester), Ilia Kazakov (Giorgio Talbot), Ilia Kazakov (Graf von Shrewsbury), Chao Deng (Lord Guglielmo Cecil), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)

Maria and Elisabetta: two queens fight for power and love. Between them stands Count Leicester, Elisabetta's lover, who is attracted to Maria. The two women meet in the park of Fotheringhay Castle - a duel of emotions, fought with the weapons of bel canto, coloratura on a knife's edge. In the end, the Catholic Maria will ascend the scaffold with her head held high, while the Protestant Elisabetta will keep her throne but lose her love. Musical Direction: Antonino Fogliani Production: Karin Beier Stage: Amber Vandenhoeck Costumes: Eva Dessecker Lighting: Annette ter Meulen Lighting Dramaturgy: Rita Thiele

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

This season

In Hamburg

La Traviata

Tue, Feb 17, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

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

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

This season

In Hamburg

La Traviata

Sat, Feb 21, 2026, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

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

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

This season

In Hamburg

Maria Stuarda

Thu, Feb 26, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Maria and Elisabetta: two queens fight for power and love. Between them stands Count Leicester, Elisabetta's lover, who is attracted to Maria. The two women meet in the park of Fotheringhay Castle - a duel of emotions, fought with the weapons of bel canto, coloratura on a knife's edge. In the end, the Catholic Maria will ascend the scaffold with her head held high, while the Protestant Elisabetta will keep her throne but lose her love. Musical Direction: Antonino Fogliani Production: Karin Beier Stage: Amber Vandenhoeck Costumes: Eva Dessecker Lighting: Annette ter Meulen Lighting Dramaturgy: Rita Thiele

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

This season

In Hamburg

Maria Stuarda

Wed, Mar 4, 2026, 18:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Maria and Elisabetta: two queens fight for power and love. Between them stands Count Leicester, Elisabetta's lover, who is attracted to Maria. The two women meet in the park of Fotheringhay Castle - a duel of emotions, fought with the weapons of bel canto, coloratura on a knife's edge. In the end, the Catholic Maria will ascend the scaffold with her head held high, while the Protestant Elisabetta will keep her throne but lose her love. Musical Direction: Antonino Fogliani Production: Karin Beier Stage: Amber Vandenhoeck Costumes: Eva Dessecker Lighting: Annette ter Meulen Lighting Dramaturgy: Rita Thiele

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

This season

In Hamburg

Maria Stuarda

Sat, Mar 14, 2026, 18:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Maria and Elisabetta: two queens fight for power and love. Between them stands Count Leicester, Elisabetta's lover, who is attracted to Maria. The two women meet in the park of Fotheringhay Castle - a duel of emotions, fought with the weapons of bel canto, coloratura on a knife's edge. In the end, the Catholic Maria will ascend the scaffold with her head held high, while the Protestant Elisabetta will keep her throne but lose her love. Musical Direction: Antonino Fogliani Production: Karin Beier Stage: Amber Vandenhoeck Costumes: Eva Dessecker Lighting: Annette ter Meulen Lighting Dramaturgy: Rita Thiele

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

This season

In Hamburg

Il barbiere di Siviglia

Sun, May 17, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Teresa Riveiro Böhm (Musical Director), Alice Meregaglia (Chorleitung), Jonah Hoskins (Conte Almaviva), Johannes Martin Kränzle (Don Bartolo), Raffaella Lupinacci (Rosina), Mattia Olivieri (Figaro), Ilia Kazakov (Don Basilio), Hellen Kwon (Berta), William Desbiens (Fiorello), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)

COMEDY, CRISES AND COLORATURA IN A MASTERPIECE FOR ALL TIMES How do I become what I am not? Since its premiere in 1816, Gioachino Rossini's masterpiece Il barbiere di Siviglia has proven itself to be a timeless comedy in which every generation can be reflected anew. In the midst of the competition for a woman, the opera explores how its characters repeatedly stumble in their pursuit of success and recognition - an analysis that is served up as a musical treat and whose punchlines also strike a chord with today's meritocracy. The longing for an optimized self drives Count Almaviva first and foremost. He and his accomplice Figaro rely on one thing above all else to conquer Rosina's heart and to undermine her guardian Bartolo as a rival. Set to Rossini's effervescent music, the protagonists become entangled in a web of relationships in which status is fought for and love is vied for. Between appearance and reality, director Tatjana Gürbaca searches for the melancholy undertones of the comedy. For behind many a masquerade lies the desire to escape one's own role, behind many a showy vocal acrobatics the fear of missing out on life. Can there ever be a winner in the pursuit of happiness? Musical direction: Teresa Riveiro Böhm Production: Tatjana Gürbaca Stage and lighting: Klaus Grünberg Costumes: Barbara Drosihn Chorus: Alice Meregaglia Dramaturgy: Judith Wiemers Melodramma buffo in two acts (1816) Libretto: Cesare Sterbini after the comedy Le Barbier de Séville ou La précaution inutile by Pierre-Augustin Caron de Beaumarchais

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

This season

In Hamburg

Il barbiere di Siviglia

Tue, May 19, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

COMEDY, CRISES AND COLORATURA IN A MASTERPIECE FOR ALL TIMES How do I become what I am not? Since its premiere in 1816, Gioachino Rossini's masterpiece Il barbiere di Siviglia has proven itself to be a timeless comedy in which every generation can be reflected anew. In the midst of the competition for a woman, the opera explores how its characters repeatedly stumble in their pursuit of success and recognition - an analysis that is served up as a musical treat and whose punchlines also strike a chord with today's meritocracy. The longing for an optimized self drives Count Almaviva first and foremost. He and his accomplice Figaro rely on one thing above all else to conquer Rosina's heart and to undermine her guardian Bartolo as a rival. Set to Rossini's effervescent music, the protagonists become entangled in a web of relationships in which status is fought for and love is vied for. Between appearance and reality, director Tatjana Gürbaca searches for the melancholy undertones of the comedy. For behind many a masquerade lies the desire to escape one's own role, behind many a showy vocal acrobatics the fear of missing out on life. Can there ever be a winner in the pursuit of happiness? Musical direction: Teresa Riveiro Böhm Production: Tatjana Gürbaca Stage and lighting: Klaus Grünberg Costumes: Barbara Drosihn Chorus: Alice Meregaglia Dramaturgy: Judith Wiemers Melodramma buffo in two acts (1816) Libretto: Cesare Sterbini after the comedy Le Barbier de Séville ou La précaution inutile by Pierre-Augustin Caron de Beaumarchais

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

This season

In Hamburg

Il barbiere di Siviglia

Sat, May 23, 2026, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

COMEDY, CRISES AND COLORATURA IN A MASTERPIECE FOR ALL TIMES How do I become what I am not? Since its premiere in 1816, Gioachino Rossini's masterpiece Il barbiere di Siviglia has proven itself to be a timeless comedy in which every generation can be reflected anew. In the midst of the competition for a woman, the opera explores how its characters repeatedly stumble in their pursuit of success and recognition - an analysis that is served up as a musical treat and whose punchlines also strike a chord with today's meritocracy. The longing for an optimized self drives Count Almaviva first and foremost. He and his accomplice Figaro rely on one thing above all else to conquer Rosina's heart and to undermine her guardian Bartolo as a rival. Set to Rossini's effervescent music, the protagonists become entangled in a web of relationships in which status is fought for and love is vied for. Between appearance and reality, director Tatjana Gürbaca searches for the melancholy undertones of the comedy. For behind many a masquerade lies the desire to escape one's own role, behind many a showy vocal acrobatics the fear of missing out on life. Can there ever be a winner in the pursuit of happiness? Musical direction: Teresa Riveiro Böhm Production: Tatjana Gürbaca Stage and lighting: Klaus Grünberg Costumes: Barbara Drosihn Chorus: Alice Meregaglia Dramaturgy: Judith Wiemers Melodramma buffo in two acts (1816) Libretto: Cesare Sterbini after the comedy Le Barbier de Séville ou La précaution inutile by Pierre-Augustin Caron de Beaumarchais

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

This season

In Hamburg

Il barbiere di Siviglia

Wed, May 27, 2026, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

COMEDY, CRISES AND COLORATURA IN A MASTERPIECE FOR ALL TIMES How do I become what I am not? Since its premiere in 1816, Gioachino Rossini's masterpiece Il barbiere di Siviglia has proven itself to be a timeless comedy in which every generation can be reflected anew. In the midst of the competition for a woman, the opera explores how its characters repeatedly stumble in their pursuit of success and recognition - an analysis that is served up as a musical treat and whose punchlines also strike a chord with today's meritocracy. The longing for an optimized self drives Count Almaviva first and foremost. He and his accomplice Figaro rely on one thing above all else to conquer Rosina's heart and to undermine her guardian Bartolo as a rival. Set to Rossini's effervescent music, the protagonists become entangled in a web of relationships in which status is fought for and love is vied for. Between appearance and reality, director Tatjana Gürbaca searches for the melancholy undertones of the comedy. For behind many a masquerade lies the desire to escape one's own role, behind many a showy vocal acrobatics the fear of missing out on life. Can there ever be a winner in the pursuit of happiness? Musical direction: Teresa Riveiro Böhm Production: Tatjana Gürbaca Stage and lighting: Klaus Grünberg Costumes: Barbara Drosihn Chorus: Alice Meregaglia Dramaturgy: Judith Wiemers Melodramma buffo in two acts (1816) Libretto: Cesare Sterbini after the comedy Le Barbier de Séville ou La précaution inutile by Pierre-Augustin Caron de Beaumarchais

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

This season

In Hamburg

Il barbiere di Siviglia

Sat, Jun 6, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

COMEDY, CRISES AND COLORATURA IN A MASTERPIECE FOR ALL TIMES How do I become what I am not? Since its premiere in 1816, Gioachino Rossini's masterpiece Il barbiere di Siviglia has proven itself to be a timeless comedy in which every generation can be reflected anew. In the midst of the competition for a woman, the opera explores how its characters repeatedly stumble in their pursuit of success and recognition - an analysis that is served up as a musical treat and whose punchlines also strike a chord with today's meritocracy. The longing for an optimized self drives Count Almaviva first and foremost. He and his accomplice Figaro rely on one thing above all else to conquer Rosina's heart and to undermine her guardian Bartolo as a rival. Set to Rossini's effervescent music, the protagonists become entangled in a web of relationships in which status is fought for and love is vied for. Between appearance and reality, director Tatjana Gürbaca searches for the melancholy undertones of the comedy. For behind many a masquerade lies the desire to escape one's own role, behind many a showy vocal acrobatics the fear of missing out on life. Can there ever be a winner in the pursuit of happiness? Musical direction: Teresa Riveiro Böhm Production: Tatjana Gürbaca Stage and lighting: Klaus Grünberg Costumes: Barbara Drosihn Chorus: Alice Meregaglia Dramaturgy: Judith Wiemers Melodramma buffo in two acts (1816) Libretto: Cesare Sterbini after the comedy Le Barbier de Séville ou La précaution inutile by Pierre-Augustin Caron de Beaumarchais

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

This season

In Hamburg

Il barbiere di Siviglia

Thu, Jun 11, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Teresa Riveiro Böhm (Musical Director), Alice Meregaglia (Chorleitung), Jonah Hoskins (Conte Almaviva), Johannes Martin Kränzle (Don Bartolo), Raffaella Lupinacci (Rosina), Mattia Olivieri (Figaro), Ilia Kazakov (Don Basilio), Hellen Kwon (Berta), William Desbiens (Fiorello), ,.,, (Offizier), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)

COMEDY, CRISES AND COLORATURA IN A MASTERPIECE FOR ALL TIMES How do I become what I am not? Since its premiere in 1816, Gioachino Rossini's masterpiece Il barbiere di Siviglia has proven itself to be a timeless comedy in which every generation can be reflected anew. In the midst of the competition for a woman, the opera explores how its characters repeatedly stumble in their pursuit of success and recognition - an analysis that is served up as a musical treat and whose punchlines also strike a chord with today's meritocracy. The longing for an optimized self drives Count Almaviva first and foremost. He and his accomplice Figaro rely on one thing above all else to conquer Rosina's heart and to undermine her guardian Bartolo as a rival. Set to Rossini's effervescent music, the protagonists become entangled in a web of relationships in which status is fought for and love is vied for. Between appearance and reality, director Tatjana Gürbaca searches for the melancholy undertones of the comedy. For behind many a masquerade lies the desire to escape one's own role, behind many a showy vocal acrobatics the fear of missing out on life. Can there ever be a winner in the pursuit of happiness? Musical direction: Teresa Riveiro Böhm Production: Tatjana Gürbaca Stage and lighting: Klaus Grünberg Costumes: Barbara Drosihn Chorus: Alice Meregaglia Dramaturgy: Judith Wiemers Melodramma buffo in two acts (1816) Libretto: Cesare Sterbini after the comedy Le Barbier de Séville ou La précaution inutile by Pierre-Augustin Caron de Beaumarchais

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

This season

In Hamburg

Il barbiere di Siviglia

Sat, Jun 13, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

COMEDY, CRISES AND COLORATURA IN A MASTERPIECE FOR ALL TIMES How do I become what I am not? Since its premiere in 1816, Gioachino Rossini's masterpiece Il barbiere di Siviglia has proven itself to be a timeless comedy in which every generation can be reflected anew. In the midst of the competition for a woman, the opera explores how its characters repeatedly stumble in their pursuit of success and recognition - an analysis that is served up as a musical treat and whose punchlines also strike a chord with today's meritocracy. The longing for an optimized self drives Count Almaviva first and foremost. He and his accomplice Figaro rely on one thing above all else to conquer Rosina's heart and to undermine her guardian Bartolo as a rival. Set to Rossini's effervescent music, the protagonists become entangled in a web of relationships in which status is fought for and love is vied for. Between appearance and reality, director Tatjana Gürbaca searches for the melancholy undertones of the comedy. For behind many a masquerade lies the desire to escape one's own role, behind many a showy vocal acrobatics the fear of missing out on life. Can there ever be a winner in the pursuit of happiness? Musical direction: Teresa Riveiro Böhm Production: Tatjana Gürbaca Stage and lighting: Klaus Grünberg Costumes: Barbara Drosihn Chorus: Alice Meregaglia Dramaturgy: Judith Wiemers Melodramma buffo in two acts (1816) Libretto: Cesare Sterbini after the comedy Le Barbier de Séville ou La précaution inutile by Pierre-Augustin Caron de Beaumarchais

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

This season

In Hamburg

Il barbiere di Siviglia

Mon, Jun 15, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

COMEDY, CRISES AND COLORATURA IN A MASTERPIECE FOR ALL TIMES How do I become what I am not? Since its premiere in 1816, Gioachino Rossini's masterpiece Il barbiere di Siviglia has proven itself to be a timeless comedy in which every generation can be reflected anew. In the midst of the competition for a woman, the opera explores how its characters repeatedly stumble in their pursuit of success and recognition - an analysis that is served up as a musical treat and whose punchlines also strike a chord with today's meritocracy. The longing for an optimized self drives Count Almaviva first and foremost. He and his accomplice Figaro rely on one thing above all else to conquer Rosina's heart and to undermine her guardian Bartolo as a rival. Set to Rossini's effervescent music, the protagonists become entangled in a web of relationships in which status is fought for and love is vied for. Between appearance and reality, director Tatjana Gürbaca searches for the melancholy undertones of the comedy. For behind many a masquerade lies the desire to escape one's own role, behind many a showy vocal acrobatics the fear of missing out on life. Can there ever be a winner in the pursuit of happiness? Musical direction: Teresa Riveiro Böhm Production: Tatjana Gürbaca Stage and lighting: Klaus Grünberg Costumes: Barbara Drosihn Chorus: Alice Meregaglia Dramaturgy: Judith Wiemers Melodramma buffo in two acts (1816) Libretto: Cesare Sterbini after the comedy Le Barbier de Séville ou La précaution inutile by Pierre-Augustin Caron de Beaumarchais

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

This season

In Hamburg

Il barbiere di Siviglia

Wed, Jun 17, 2026, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

COMEDY, CRISES AND COLORATURA IN A MASTERPIECE FOR ALL TIMES How do I become what I am not? Since its premiere in 1816, Gioachino Rossini's masterpiece Il barbiere di Siviglia has proven itself to be a timeless comedy in which every generation can be reflected anew. In the midst of the competition for a woman, the opera explores how its characters repeatedly stumble in their pursuit of success and recognition - an analysis that is served up as a musical treat and whose punchlines also strike a chord with today's meritocracy. The longing for an optimized self drives Count Almaviva first and foremost. He and his accomplice Figaro rely on one thing above all else to conquer Rosina's heart and to undermine her guardian Bartolo as a rival. Set to Rossini's effervescent music, the protagonists become entangled in a web of relationships in which status is fought for and love is vied for. Between appearance and reality, director Tatjana Gürbaca searches for the melancholy undertones of the comedy. For behind many a masquerade lies the desire to escape one's own role, behind many a showy vocal acrobatics the fear of missing out on life. Can there ever be a winner in the pursuit of happiness? Musical direction: Teresa Riveiro Böhm Production: Tatjana Gürbaca Stage and lighting: Klaus Grünberg Costumes: Barbara Drosihn Chorus: Alice Meregaglia Dramaturgy: Judith Wiemers Melodramma buffo in two acts (1816) Libretto: Cesare Sterbini after the comedy Le Barbier de Séville ou La précaution inutile by Pierre-Augustin Caron de Beaumarchais

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

Classical concerts featuringIlia Kazakov

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Classical concerts featuring
Ilia Kazakov