Set your preferred locations for a better search. You can sign up here.

Classical concerts featuring
Johannes Martin Kränzle

Overview

Quick overview of musician Johannes Martin Kränzle by associated keywords

CitiesFrequently performs in

Hamburg
Germany
Hamburg
9

ProgramFrequently performs

Gioacchino Rossini
Works by
Gioacchino Rossini
9

MusiciansFrequently collaborate with

Musician
Alice Meregaglia
9
choir
Chor der Hamburgischen Staatsoper
9
Musician
Hellen Kwon
9
Musician
Ilia Kazakov
9
Musician
Jonah Hoskins
9

New Arrivals

These concerts featuring Johannes Martin Kränzle became visible lately at Concert Pulse.

Artistic depiction of the event
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)
Artistic depiction of the event
This season
In Hamburg

Il barbiere di Siviglia

Tue, May 19, 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)
Artistic depiction of the event
This season
In Hamburg

Il barbiere di Siviglia

Sat, May 23, 2026, 19:30
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)

Upcoming Concerts

Concerts featuring Johannes Martin Kränzle in season 2024/25 or later

Artistic depiction of the event
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)
Artistic depiction of the event
This season
In Hamburg

Il barbiere di Siviglia

Tue, May 19, 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)
Artistic depiction of the event
This season
In Hamburg

Il barbiere di Siviglia

Sat, May 23, 2026, 19:30
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)
Artistic depiction of the event
This season
In Hamburg

Il barbiere di Siviglia

Wed, May 27, 2026, 19:30
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)
Artistic depiction of the event
This season
In Hamburg

Il barbiere di Siviglia

Sat, Jun 6, 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)
Artistic depiction of the event
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)
Artistic depiction of the event
This season
In Hamburg

Il barbiere di Siviglia

Sat, Jun 13, 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)
Artistic depiction of the event
This season
In Hamburg

Il barbiere di Siviglia

Mon, Jun 15, 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)
Artistic depiction of the event
This season
In Hamburg

Il barbiere di Siviglia

Wed, Jun 17, 2026, 19:30
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)