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

Classical concerts featuring
Karina Canellakis

Overview

Quick overview of musician Karina Canellakis by associated keywords

CitiesFrequently performs in

Amsterdam
The Netherlands
Amsterdam
12
Hamburg
Germany
Hamburg
8
München
Germany
München
5
Paris
France
Paris
2
London
United Kingdom
London
1

ProgramFrequently performs

Jean Sibelius
Works by
Jean Sibelius
8
Works by
Robert Schumann / Bela Bartok / Alexander Zemlinsky
8
Ludwig van Beethoven
Works by
Ludwig van Beethoven
7
Piotr Tchaikovsky
Works by
Piotr Tchaikovsky
5
Alexander Skrjabin
Works by
Alexander Skrjabin
4
Richard Wagner
Works by
Richard Wagner
4
Richard Strauss
Works by
Richard Strauss
3
Wolfgang Amadeus Mozart
Works by
Wolfgang Amadeus Mozart
3
Béla Bartók
Works by
Béla Bartók
2
Claude Debussy
Works by
Claude Debussy
2

MusiciansFrequently collaborate with

Musician
Johan Reuter
16
Musician
Ambur Braid
8
Musician
Annika Schlicht
8
orchestra
Philharmonisches Staatsorchester Hamburg
8
Musician
Thomas Blondelle
8

New Arrivals

These concerts featuring Karina Canellakis became visible lately at Concert Pulse.

Artistic depiction of the event
This season
In Amsterdam

Karina Canellakis conducts Strauss’ Heldenleben and Brahms’ Alto Rhapsody

Sun, Sep 21, 2025, 11:00
Het Concertgebouw, Main Hall (Amsterdam)
Radio Philharmonic Orchestra, National Radio Choir, Karina Canellakis (Conductor), Wiebke Lehmkuhl (Alto)
The Sunday Morning Concert brings you wonderful and much-loved compositions, performed by top musicians from the Netherlands and abroad. Enjoy the most beautiful music in the morning! You can make your Sunday complete by enjoying a delicious post-concert lunch in restaurant LIER.The Royal Concertgebouw is one of the best concert halls in the world, famous for its exceptional acoustics and varied programme. Attend a concert and have an experience you will never forget. Come and enjoy inspiring music in the beautiful surroundings of the Main Hall or the intimate Recital Hall.
Info & Ticket (www.concertgebouw.nl)
Artistic depiction of the event
This season
In Amsterdam

Sibelius' Finlandia and Tchaikovsky's Symphony No. 1

Sun, Feb 1, 2026, 11:00
Het Concertgebouw, Main Hall (Amsterdam)
Radio Philharmonic Orchestra, National Radio Choir, Karina Canellakis (Conductor)
The Sunday Morning Concert brings you wonderful and much-loved compositions, performed by top musicians from the Netherlands and abroad. Enjoy the most beautiful music in the morning! You can make your Sunday complete by enjoying a delicious post-concert lunch in restaurant LIER.The Royal Concertgebouw is one of the best concert halls in the world, famous for its exceptional acoustics and varied programme. Attend a concert and have an experience you will never forget. Come and enjoy inspiring music in the beautiful surroundings of the Main Hall or the intimate Recital Hall.
Info & Ticket (www.concertgebouw.nl)
Artistic depiction of the event
This season
In Hamburg

Women's love and death

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

Upcoming Concerts

Concerts featuring Karina Canellakis in season 2024/25 or later

Artistic depiction of the event
Next week
In Amsterdam

Karina Canellakis conducts Janáček's From the House of the Dead

Sat, Mar 22, 2025, 14:15
Het Concertgebouw, Main Hall (Amsterdam)
Radio Philharmonic Orchestra, National Radio Choir, Karina Canellakis (Conductor), Jeremy Bines (Choral conductor), Joshua Bloom (Alexandr Petrovi Gorjanikov), Bekhzod Davronov (Aljeja), Roland Wood (Siskov), Jan Martiník (Placmajor), Alexey Dolgov (Sapkin), Alexey Dolgov (Opily vezen), Alexey Dolgov (Vesely vezen), Tim Kuypers (Vezen maly), Tim Kuypers (Urputny Vezen), Stephan Rügamer (Luka), Maria Warenberg (Pobehlice), Sam Carl (Don Juan), Julian Hubbard (Skuratov), Zbigniew Malak, Mark Omvlee (Vězeň s orlem)
The Concertgebouw’s famous Main Hall is one of the best concert halls in the world, well-known for its exceptional acoustics and special atmosphere. In the Main Hall, you will feel history. Here, Gustav Mahler conducted his own compositions, as did Richard Strauss and Igor Stravinsky. Sergei Rachmaninoff played his own piano concertos in the Main Hall. This is also where musicians such as Leonard Bernstein, Vladimir Horowitz and Yehudi Menuhin gave legendary performances. Right up to now, the Main Hall offers a stage to the world’s best orchestras and musicians. Buy your tickets now and experience the magic of the Main Hall for yourself!
Info & Ticket (www.concertgebouw.nl)
Artistic depiction of the event
This season
In München

Karina Canellakis & Alice Sara Ott

Thu, May 1, 2025, 20:00
Herkulessaal (München)
Karina Canellakis (Conductor), Alice Sara Ott (Piano), Symphonieorchester des Bayerischen Rundfunks
Lumière et pesanteur, written by the Finnish composer Kaija Saariaho as a gift for the conductor Esa-Pekka Salonen, radiates a shimmering sonic texture that is captivating, and serves as a brief opening prelude. Maurice Ravel’s brilliant and jazzy Piano Concerto in G major, written between 1929 and 1931, is entrusted to the sensitive and assured hands of pianist Alice Sara Ott – its colorful, playful style providing an exciting contrast to the dark, incisive soundworld of Jean Sibelius. The American conductor Karina Canellakis has chosen to showcase this soundworld by performing the four-movement suite that portrays the adventures of the hero (and womanizer) Lemminkäinen, as found in the Finnish national epic Kalevala.
Info & Ticket (www.brso.de)
Artistic depiction of the event
This season
In München

Karina Canellakis & Alice Sara Ott

Fri, May 2, 2025, 20:00
Herkulessaal (München)
Karina Canellakis (Conductor), Alice Sara Ott (Piano), Symphonieorchester des Bayerischen Rundfunks
Lumière et pesanteur, written by the Finnish composer Kaija Saariaho as a gift for the conductor Esa-Pekka Salonen, radiates a shimmering sonic texture that is captivating, and serves as a brief opening prelude. Maurice Ravel’s brilliant and jazzy Piano Concerto in G major, written between 1929 and 1931, is entrusted to the sensitive and assured hands of pianist Alice Sara Ott – its colorful, playful style providing an exciting contrast to the dark, incisive soundworld of Jean Sibelius. The American conductor Karina Canellakis has chosen to showcase this soundworld by performing the four-movement suite that portrays the adventures of the hero (and womanizer) Lemminkäinen, as found in the Finnish national epic Kalevala.
Info & Ticket (www.brso.de)
Artistic depiction of the event
This season
In Amsterdam

Tawfiq, Ravel and Bartók

Sat, May 24, 2025, 14:15
Het Concertgebouw, Main Hall (Amsterdam)
Radio Philharmonic Orchestra, Karina Canellakis (Conductor), Cédric Tiberghien (Piano)
The Concertgebouw’s famous Main Hall is one of the best concert halls in the world, well-known for its exceptional acoustics and special atmosphere. In the Main Hall, you will feel history. Here, Gustav Mahler conducted his own compositions, as did Richard Strauss and Igor Stravinsky. Sergei Rachmaninoff played his own piano concertos in the Main Hall. This is also where musicians such as Leonard Bernstein, Vladimir Horowitz and Yehudi Menuhin gave legendary performances. Right up to now, the Main Hall offers a stage to the world’s best orchestras and musicians. Buy your tickets now and experience the magic of the Main Hall for yourself!
Info & Ticket (www.concertgebouw.nl)
Artistic depiction of the event
This season
In Amsterdam

Karina Canellakis conducts Strauss’ Heldenleben and Brahms’ Alto Rhapsody

Sun, Sep 21, 2025, 11:00
Het Concertgebouw, Main Hall (Amsterdam)
Radio Philharmonic Orchestra, National Radio Choir, Karina Canellakis (Conductor), Wiebke Lehmkuhl (Alto)
The Sunday Morning Concert brings you wonderful and much-loved compositions, performed by top musicians from the Netherlands and abroad. Enjoy the most beautiful music in the morning! You can make your Sunday complete by enjoying a delicious post-concert lunch in restaurant LIER.The Royal Concertgebouw is one of the best concert halls in the world, famous for its exceptional acoustics and varied programme. Attend a concert and have an experience you will never forget. Come and enjoy inspiring music in the beautiful surroundings of the Main Hall or the intimate Recital Hall.
Info & Ticket (www.concertgebouw.nl)
Artistic depiction of the event
This season
In Amsterdam

Sibelius' Finlandia and Tchaikovsky's Symphony No. 1

Sun, Feb 1, 2026, 11:00
Het Concertgebouw, Main Hall (Amsterdam)
Radio Philharmonic Orchestra, National Radio Choir, Karina Canellakis (Conductor)
The Sunday Morning Concert brings you wonderful and much-loved compositions, performed by top musicians from the Netherlands and abroad. Enjoy the most beautiful music in the morning! You can make your Sunday complete by enjoying a delicious post-concert lunch in restaurant LIER.The Royal Concertgebouw is one of the best concert halls in the world, famous for its exceptional acoustics and varied programme. Attend a concert and have an experience you will never forget. Come and enjoy inspiring music in the beautiful surroundings of the Main Hall or the intimate Recital Hall.
Info & Ticket (www.concertgebouw.nl)
Artistic depiction of the event
This season
In Hamburg

Women's love and death

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

Women's love and death

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

Women's love and death

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

Women's love and death

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

Women's love and death

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

Women's love and death

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

Women's love and death

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

Women's love and death

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