Classical concerts featuring
Kristina Stanek

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Quick overview of musician Kristina Stanek by associated keywords

New Arrivals

These concerts featuring Kristina Stanek became visible lately at Concert Pulse.

This season

In Hamburg

Falstaff

Thu, Oct 2, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Valerio Galli (Musical Director), Alice Meregaglia (Chorus), Wolfgang Koch (Falstaff), Andrii Kymach (Ford), Granit Musliu (Fenton), James Kryshak (Dr. Cajus), Daniel Kluge (Bardolfo), Hubert Kowalczyk (Pistola), Elbenita Kajtazi (Alice Ford), Narea Son (Nannetta), Kristina Stanek (Mrs. Quickly), Katja Pieweck (Meg Page), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)

Sir John Falstaff is an anarchist who obeys only the reign of his own enjoyment, an egoist who feeds only his power-hunger and his own flesh, and who would prefer to raze the small-minded morals of his contemporaries like the walls of a fortress – by seducing two women at the same time. Needless to say, his plan is thwarted, but those trying to expose him also fail to emerge unruffled from the confusion they unleash around him – which only the audience can keep track of, barely. “Tutto nel mondo è burla,” but these jokes are only funny because falling into the abyss actually does pose quite a serious risk. Arrigo Boito, the librettist of “Otello”, distilled a sophisticated, ingenious libretto from Shakespeare’s original, driving Verdi to highly complex compositional heights. Director: Calixto Bieito Set Designer: Susanne Gschwender Costume Designer: Anja Rabes Dramaturgy: Bettina Auer Lighting Designer: Michael Bauer Premiere: January 19th 2020

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

This season

In Hamburg

Falstaff

Sat, Oct 4, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Sir John Falstaff is an anarchist who obeys only the reign of his own enjoyment, an egoist who feeds only his power-hunger and his own flesh, and who would prefer to raze the small-minded morals of his contemporaries like the walls of a fortress – by seducing two women at the same time. Needless to say, his plan is thwarted, but those trying to expose him also fail to emerge unruffled from the confusion they unleash around him – which only the audience can keep track of, barely. “Tutto nel mondo è burla,” but these jokes are only funny because falling into the abyss actually does pose quite a serious risk. Arrigo Boito, the librettist of “Otello”, distilled a sophisticated, ingenious libretto from Shakespeare’s original, driving Verdi to highly complex compositional heights. Director: Calixto Bieito Set Designer: Susanne Gschwender Costume Designer: Anja Rabes Dramaturgy: Bettina Auer Lighting Designer: Michael Bauer Premiere: January 19th 2020

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

This season

In Hamburg

Falstaff

Wed, Oct 8, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Valerio Galli (Musical Director), Alice Meregaglia (Chorus), Wolfgang Koch (Falstaff), Andrii Kymach (Ford), Granit Musliu (Fenton), Jürgen Sacher (Dr. Cajus), Daniel Kluge (Bardolfo), Hubert Kowalczyk (Pistola), Elbenita Kajtazi (Alice Ford), Narea Son (Nannetta), Kristina Stanek (Mrs. Quickly), Katja Pieweck (Meg Page), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)

Sir John Falstaff is an anarchist who obeys only the reign of his own enjoyment, an egoist who feeds only his power-hunger and his own flesh, and who would prefer to raze the small-minded morals of his contemporaries like the walls of a fortress – by seducing two women at the same time. Needless to say, his plan is thwarted, but those trying to expose him also fail to emerge unruffled from the confusion they unleash around him – which only the audience can keep track of, barely. “Tutto nel mondo è burla,” but these jokes are only funny because falling into the abyss actually does pose quite a serious risk. Arrigo Boito, the librettist of “Otello”, distilled a sophisticated, ingenious libretto from Shakespeare’s original, driving Verdi to highly complex compositional heights. Director: Calixto Bieito Set Designer: Susanne Gschwender Costume Designer: Anja Rabes Dramaturgy: Bettina Auer Lighting Designer: Michael Bauer Premiere: January 19th 2020

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

Upcoming Concerts

Concerts featuring Kristina Stanek in season 2024/25 or later

This month

In Hamburg

Il trovatore

Thu, Mar 27, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Paolo Arrivabeni (Musical Director), Christian Günther (Chorleitung), George Petean (Luna), Marco Berti (Manrico), Olga Peretyatko (Leonora), Kristina Stanek (Azucena), Hubert Kowalczyk (Ferrando), Marie Maidowski (Inez), Aaron Godfrey-Mayes (Ruiz), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)

For Leonora, the song of the troubadour Manrico holds the promise and glow of love; Manrico's rival Count Luna perceives in it threat and danger. Verdi's opera is a celebration of Italian opera singing at its best - so it is no coincidence that the title character is a singer himself. And yet for the composer, Azucena, Manrico's mother, was the real protagonist. Il trovatore is rich in dramatic intricacies and intense emotions, which Verdi abruptly juxtaposes in images and scenes. Tragedy relentlessly unfolds before our eyes and ears until the truth is revealed in the opera's final seconds. Stage: Alex Eales Costumes: Herbert Murauer Lighting: James Farncombe Video: Philipp Contag-Lada Dramaturgy: Ralf Waldschmidt Chorus: Christian Günther

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

Next month

In Hamburg

Il trovatore

Tue, Apr 1, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

For Leonora, the song of the troubadour Manrico holds the promise and glow of love; Manrico's rival Count Luna perceives in it threat and danger. Verdi's opera is a celebration of Italian opera singing at its best - so it is no coincidence that the title character is a singer himself. And yet for the composer, Azucena, Manrico's mother, was the real protagonist. Il trovatore is rich in dramatic intricacies and intense emotions, which Verdi abruptly juxtaposes in images and scenes. Tragedy relentlessly unfolds before our eyes and ears until the truth is revealed in the opera's final seconds. Stage: Alex Eales Costumes: Herbert Murauer Lighting: James Farncombe Video: Philipp Contag-Lada Dramaturgy: Ralf Waldschmidt Chorus: Christian Günther

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

Next month

In Hamburg

Il trovatore

Sat, Apr 5, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

For Leonora, the song of the troubadour Manrico holds the promise and glow of love; Manrico's rival Count Luna perceives in it threat and danger. Verdi's opera is a celebration of Italian opera singing at its best - so it is no coincidence that the title character is a singer himself. And yet for the composer, Azucena, Manrico's mother, was the real protagonist. Il trovatore is rich in dramatic intricacies and intense emotions, which Verdi abruptly juxtaposes in images and scenes. Tragedy relentlessly unfolds before our eyes and ears until the truth is revealed in the opera's final seconds. Stage: Alex Eales Costumes: Herbert Murauer Lighting: James Farncombe Video: Philipp Contag-Lada Dramaturgy: Ralf Waldschmidt Chorus: Christian Günther

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

Next month

In Hamburg

Il trovatore

Wed, Apr 9, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

For Leonora, the song of the troubadour Manrico holds the promise and glow of love; Manrico's rival Count Luna perceives in it threat and danger. Verdi's opera is a celebration of Italian opera singing at its best - so it is no coincidence that the title character is a singer himself. And yet for the composer, Azucena, Manrico's mother, was the real protagonist. Il trovatore is rich in dramatic intricacies and intense emotions, which Verdi abruptly juxtaposes in images and scenes. Tragedy relentlessly unfolds before our eyes and ears until the truth is revealed in the opera's final seconds. Stage: Alex Eales Costumes: Herbert Murauer Lighting: James Farncombe Video: Philipp Contag-Lada Dramaturgy: Ralf Waldschmidt Chorus: Christian Günther

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

This season

In Hamburg

Falstaff

Thu, Oct 2, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Sir John Falstaff is an anarchist who obeys only the reign of his own enjoyment, an egoist who feeds only his power-hunger and his own flesh, and who would prefer to raze the small-minded morals of his contemporaries like the walls of a fortress – by seducing two women at the same time. Needless to say, his plan is thwarted, but those trying to expose him also fail to emerge unruffled from the confusion they unleash around him – which only the audience can keep track of, barely. “Tutto nel mondo è burla,” but these jokes are only funny because falling into the abyss actually does pose quite a serious risk. Arrigo Boito, the librettist of “Otello”, distilled a sophisticated, ingenious libretto from Shakespeare’s original, driving Verdi to highly complex compositional heights. Director: Calixto Bieito Set Designer: Susanne Gschwender Costume Designer: Anja Rabes Dramaturgy: Bettina Auer Lighting Designer: Michael Bauer Premiere: January 19th 2020

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

This season

In Hamburg

Falstaff

Sat, Oct 4, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Sir John Falstaff is an anarchist who obeys only the reign of his own enjoyment, an egoist who feeds only his power-hunger and his own flesh, and who would prefer to raze the small-minded morals of his contemporaries like the walls of a fortress – by seducing two women at the same time. Needless to say, his plan is thwarted, but those trying to expose him also fail to emerge unruffled from the confusion they unleash around him – which only the audience can keep track of, barely. “Tutto nel mondo è burla,” but these jokes are only funny because falling into the abyss actually does pose quite a serious risk. Arrigo Boito, the librettist of “Otello”, distilled a sophisticated, ingenious libretto from Shakespeare’s original, driving Verdi to highly complex compositional heights. Director: Calixto Bieito Set Designer: Susanne Gschwender Costume Designer: Anja Rabes Dramaturgy: Bettina Auer Lighting Designer: Michael Bauer Premiere: January 19th 2020

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

This season

In Hamburg

Falstaff

Wed, Oct 8, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Sir John Falstaff is an anarchist who obeys only the reign of his own enjoyment, an egoist who feeds only his power-hunger and his own flesh, and who would prefer to raze the small-minded morals of his contemporaries like the walls of a fortress – by seducing two women at the same time. Needless to say, his plan is thwarted, but those trying to expose him also fail to emerge unruffled from the confusion they unleash around him – which only the audience can keep track of, barely. “Tutto nel mondo è burla,” but these jokes are only funny because falling into the abyss actually does pose quite a serious risk. Arrigo Boito, the librettist of “Otello”, distilled a sophisticated, ingenious libretto from Shakespeare’s original, driving Verdi to highly complex compositional heights. Director: Calixto Bieito Set Designer: Susanne Gschwender Costume Designer: Anja Rabes Dramaturgy: Bettina Auer Lighting Designer: Michael Bauer Premiere: January 19th 2020

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

This season

In Hamburg

Falstaff

Wed, Oct 15, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Sir John Falstaff is an anarchist who obeys only the reign of his own enjoyment, an egoist who feeds only his power-hunger and his own flesh, and who would prefer to raze the small-minded morals of his contemporaries like the walls of a fortress – by seducing two women at the same time. Needless to say, his plan is thwarted, but those trying to expose him also fail to emerge unruffled from the confusion they unleash around him – which only the audience can keep track of, barely. “Tutto nel mondo è burla,” but these jokes are only funny because falling into the abyss actually does pose quite a serious risk. Arrigo Boito, the librettist of “Otello”, distilled a sophisticated, ingenious libretto from Shakespeare’s original, driving Verdi to highly complex compositional heights. Director: Calixto Bieito Set Designer: Susanne Gschwender Costume Designer: Anja Rabes Dramaturgy: Bettina Auer Lighting Designer: Michael Bauer Premiere: January 19th 2020

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

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)

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

Monster´s Paradise

Sun, Feb 1, 2026, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Titus Engel (Musical Director), Christian Günther (Chorleitung), Sarah Aristidou (Vampi), Kristina Stanek (Bampi), Georg Nigl (König), Georg Nigl (Präsident), Anna Clementi (Gorgonzilla), Andrew Watts (Mickey), Eric Jurenas (Tuckey), Ruben Drole (Ein Bär), Philharmonisches Staatsorchester Hamburg (Orchestra)

PREMIERE - WHO WILL SAVE US FROM THE DESPOTS? A LUDICROUS SATIRE ON THE STATE OF THE PRESENT: OF GIANT MONSTERS AND POLITICAL TYRANTS A new work on the pulse of time! The music world has been waiting a long time for this: After their legendary works Bählamms Fest and Lost Highway, more than twenty years have passed since the composer Olga Neuwirth and the writer Elfriede Jelinek dedicated themselves to a joint piece of music theater. The two internationally acclaimed exceptional artists - Jelinek received the Nobel Prize for Literature in 2004 and Neuwirth the Ernst von Siemens Music Prize in 2022 - have written Monster's Paradise, a commissioned work for the Hamburg State Opera. As avatars of themselves, they send two “vampireettes” on a journey around the world. They observe the decline of humanity while a tyrannical king and a sea monster he has conjured up himself fight for power. All hope rests on him: the great Gorgonzilla. But what kind of world is it that can only be saved by monsters? The supposedly ludicrous and absurd has the potential to sharpen our view of our reality. History repeats itself. Monster's Paradise is both a tragedy and a satyr play. Tobias Kratzer, artistic director of the Hamburg State Opera, directs the brand new political grotesque, a contemporary Grand Guignol. Musikalische Leitung: Titus Engel Inszenierung: Tobias Kratzer Co-Regie: Matthias Piro Bühne und Kostüme: Rainer Sellmaier Video: Manuel Braun, Jonas Dahl Sounddesign: Markus Noisternig Licht: Michael Bauer Chor: Christian Günther Dramaturgie: Christopher Warmuth,Laura Schmidt Eine Grand Guignol Opéra (Uraufführung 2026) Libretto von Elfriede Jelinek und Olga Neuwirth, nach einer Idee der Komponistin

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

This season

In Hamburg

Monster´s Paradise

Wed, Feb 4, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

PREMIERE - WHO WILL SAVE US FROM THE DESPOTS? A LUDICROUS SATIRE ON THE STATE OF THE PRESENT: OF GIANT MONSTERS AND POLITICAL TYRANTS A new work on the pulse of time! The music world has been waiting a long time for this: After their legendary works Bählamms Fest and Lost Highway, more than twenty years have passed since the composer Olga Neuwirth and the writer Elfriede Jelinek dedicated themselves to a joint piece of music theater. The two internationally acclaimed exceptional artists - Jelinek received the Nobel Prize for Literature in 2004 and Neuwirth the Ernst von Siemens Music Prize in 2022 - have written Monster's Paradise, a commissioned work for the Hamburg State Opera. As avatars of themselves, they send two “vampireettes” on a journey around the world. They observe the decline of humanity while a tyrannical king and a sea monster he has conjured up himself fight for power. All hope rests on him: the great Gorgonzilla. But what kind of world is it that can only be saved by monsters? The supposedly ludicrous and absurd has the potential to sharpen our view of our reality. History repeats itself. Monster's Paradise is both a tragedy and a satyr play. Tobias Kratzer, artistic director of the Hamburg State Opera, directs the brand new political grotesque, a contemporary Grand Guignol. Musikalische Leitung: Titus Engel Inszenierung: Tobias Kratzer Co-Regie: Matthias Piro Bühne und Kostüme: Rainer Sellmaier Video: Manuel Braun, Jonas Dahl Sounddesign: Markus Noisternig Licht: Michael Bauer Chor: Christian Günther Dramaturgie: Christopher Warmuth,Laura Schmidt Eine Grand Guignol Opéra (Uraufführung 2026) Libretto von Elfriede Jelinek und Olga Neuwirth, nach einer Idee der Komponistin

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

This season

In Hamburg

Monster´s Paradise

Sun, Feb 8, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

PREMIERE - WHO WILL SAVE US FROM THE DESPOTS? A LUDICROUS SATIRE ON THE STATE OF THE PRESENT: OF GIANT MONSTERS AND POLITICAL TYRANTS A new work on the pulse of time! The music world has been waiting a long time for this: After their legendary works Bählamms Fest and Lost Highway, more than twenty years have passed since the composer Olga Neuwirth and the writer Elfriede Jelinek dedicated themselves to a joint piece of music theater. The two internationally acclaimed exceptional artists - Jelinek received the Nobel Prize for Literature in 2004 and Neuwirth the Ernst von Siemens Music Prize in 2022 - have written Monster's Paradise, a commissioned work for the Hamburg State Opera. As avatars of themselves, they send two “vampireettes” on a journey around the world. They observe the decline of humanity while a tyrannical king and a sea monster he has conjured up himself fight for power. All hope rests on him: the great Gorgonzilla. But what kind of world is it that can only be saved by monsters? The supposedly ludicrous and absurd has the potential to sharpen our view of our reality. History repeats itself. Monster's Paradise is both a tragedy and a satyr play. Tobias Kratzer, artistic director of the Hamburg State Opera, directs the brand new political grotesque, a contemporary Grand Guignol. Musikalische Leitung: Titus Engel Inszenierung: Tobias Kratzer Co-Regie: Matthias Piro Bühne und Kostüme: Rainer Sellmaier Video: Manuel Braun, Jonas Dahl Sounddesign: Markus Noisternig Licht: Michael Bauer Chor: Christian Günther Dramaturgie: Christopher Warmuth,Laura Schmidt Eine Grand Guignol Opéra (Uraufführung 2026) Libretto von Elfriede Jelinek und Olga Neuwirth, nach einer Idee der Komponistin

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

This season

In Hamburg

Monster´s Paradise

Wed, Feb 11, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

PREMIERE - WHO WILL SAVE US FROM THE DESPOTS? A LUDICROUS SATIRE ON THE STATE OF THE PRESENT: OF GIANT MONSTERS AND POLITICAL TYRANTS A new work on the pulse of time! The music world has been waiting a long time for this: After their legendary works Bählamms Fest and Lost Highway, more than twenty years have passed since the composer Olga Neuwirth and the writer Elfriede Jelinek dedicated themselves to a joint piece of music theater. The two internationally acclaimed exceptional artists - Jelinek received the Nobel Prize for Literature in 2004 and Neuwirth the Ernst von Siemens Music Prize in 2022 - have written Monster's Paradise, a commissioned work for the Hamburg State Opera. As avatars of themselves, they send two “vampireettes” on a journey around the world. They observe the decline of humanity while a tyrannical king and a sea monster he has conjured up himself fight for power. All hope rests on him: the great Gorgonzilla. But what kind of world is it that can only be saved by monsters? The supposedly ludicrous and absurd has the potential to sharpen our view of our reality. History repeats itself. Monster's Paradise is both a tragedy and a satyr play. Tobias Kratzer, artistic director of the Hamburg State Opera, directs the brand new political grotesque, a contemporary Grand Guignol. Musikalische Leitung: Titus Engel Inszenierung: Tobias Kratzer Co-Regie: Matthias Piro Bühne und Kostüme: Rainer Sellmaier Video: Manuel Braun, Jonas Dahl Sounddesign: Markus Noisternig Licht: Michael Bauer Chor: Christian Günther Dramaturgie: Christopher Warmuth,Laura Schmidt Eine Grand Guignol Opéra (Uraufführung 2026) Libretto von Elfriede Jelinek und Olga Neuwirth, nach einer Idee der Komponistin

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

This season

In Hamburg

Monster´s Paradise

Fri, Feb 13, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

PREMIERE - WHO WILL SAVE US FROM THE DESPOTS? A LUDICROUS SATIRE ON THE STATE OF THE PRESENT: OF GIANT MONSTERS AND POLITICAL TYRANTS A new work on the pulse of time! The music world has been waiting a long time for this: After their legendary works Bählamms Fest and Lost Highway, more than twenty years have passed since the composer Olga Neuwirth and the writer Elfriede Jelinek dedicated themselves to a joint piece of music theater. The two internationally acclaimed exceptional artists - Jelinek received the Nobel Prize for Literature in 2004 and Neuwirth the Ernst von Siemens Music Prize in 2022 - have written Monster's Paradise, a commissioned work for the Hamburg State Opera. As avatars of themselves, they send two “vampireettes” on a journey around the world. They observe the decline of humanity while a tyrannical king and a sea monster he has conjured up himself fight for power. All hope rests on him: the great Gorgonzilla. But what kind of world is it that can only be saved by monsters? The supposedly ludicrous and absurd has the potential to sharpen our view of our reality. History repeats itself. Monster's Paradise is both a tragedy and a satyr play. Tobias Kratzer, artistic director of the Hamburg State Opera, directs the brand new political grotesque, a contemporary Grand Guignol. Musikalische Leitung: Titus Engel Inszenierung: Tobias Kratzer Co-Regie: Matthias Piro Bühne und Kostüme: Rainer Sellmaier Video: Manuel Braun, Jonas Dahl Sounddesign: Markus Noisternig Licht: Michael Bauer Chor: Christian Günther Dramaturgie: Christopher Warmuth,Laura Schmidt Eine Grand Guignol Opéra (Uraufführung 2026) Libretto von Elfriede Jelinek und Olga Neuwirth, nach einer Idee der Komponistin

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

This season

In Hamburg

Monster´s Paradise

Thu, Feb 19, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

PREMIERE - WHO WILL SAVE US FROM THE DESPOTS? A LUDICROUS SATIRE ON THE STATE OF THE PRESENT: OF GIANT MONSTERS AND POLITICAL TYRANTS A new work on the pulse of time! The music world has been waiting a long time for this: After their legendary works Bählamms Fest and Lost Highway, more than twenty years have passed since the composer Olga Neuwirth and the writer Elfriede Jelinek dedicated themselves to a joint piece of music theater. The two internationally acclaimed exceptional artists - Jelinek received the Nobel Prize for Literature in 2004 and Neuwirth the Ernst von Siemens Music Prize in 2022 - have written Monster's Paradise, a commissioned work for the Hamburg State Opera. As avatars of themselves, they send two “vampireettes” on a journey around the world. They observe the decline of humanity while a tyrannical king and a sea monster he has conjured up himself fight for power. All hope rests on him: the great Gorgonzilla. But what kind of world is it that can only be saved by monsters? The supposedly ludicrous and absurd has the potential to sharpen our view of our reality. History repeats itself. Monster's Paradise is both a tragedy and a satyr play. Tobias Kratzer, artistic director of the Hamburg State Opera, directs the brand new political grotesque, a contemporary Grand Guignol. Musikalische Leitung: Titus Engel Inszenierung: Tobias Kratzer Co-Regie: Matthias Piro Bühne und Kostüme: Rainer Sellmaier Video: Manuel Braun, Jonas Dahl Sounddesign: Markus Noisternig Licht: Michael Bauer Chor: Christian Günther Dramaturgie: Christopher Warmuth,Laura Schmidt Eine Grand Guignol Opéra (Uraufführung 2026) Libretto von Elfriede Jelinek und Olga Neuwirth, nach einer Idee der Komponistin

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

This season

In Hamburg

Luisa Miller

Sun, May 24, 2026, 18:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Henrik Nánási (Musical Director), Alice Meregaglia (Chorus), Gábor Bretz (Il Conte di Walter), Pavol Breslik (Rodolfo), George Petean (Miller), Elbenita Kajtazi (Luisa), Alexander Roslavets (Wurm), Kristina Stanek (Federica), Elizaveta Kulagina (Laura), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)

"Luisa Miller" is Giuseppe Verdi’s third setting of a play by Friedrich Schiller. “It is a great drama, full of passion and very effective in theatrical terms,” the composer wrote to the librettist Salvadore Cammarano about Kabale und Liebe. In order to conform to the expectations of the censors and audience, Verdi first had to reduce the play to a libretto suitable for opera, moving the focus from Schiller’s political tale to the family drama. In his opera, first performed in Naples in 1849, Verdi produced outstanding character studies of all his protagonists. In this work he laid the foundation for many “Verdi types” of later years, e.g. Iago, Giorgio Germont, Aida or Desdemona. Luisa Miller was first performed in Hamburg at the Hamburg State Opera in 1981 in a new production conducted by Giuseppe Sinopoli and directed by Luciano Damiani, who also designed the sets and costumes at the time. Director: Andreas Homoki Set Designer: Paul Zoller Costume Designer: Gideon Davey Lighting Designer: Franck Evin Premiere: 16.11.2014

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

This season

In Hamburg

Luisa Miller

Thu, May 28, 2026, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

"Luisa Miller" is Giuseppe Verdi’s third setting of a play by Friedrich Schiller. “It is a great drama, full of passion and very effective in theatrical terms,” the composer wrote to the librettist Salvadore Cammarano about Kabale und Liebe. In order to conform to the expectations of the censors and audience, Verdi first had to reduce the play to a libretto suitable for opera, moving the focus from Schiller’s political tale to the family drama. In his opera, first performed in Naples in 1849, Verdi produced outstanding character studies of all his protagonists. In this work he laid the foundation for many “Verdi types” of later years, e.g. Iago, Giorgio Germont, Aida or Desdemona. Luisa Miller was first performed in Hamburg at the Hamburg State Opera in 1981 in a new production conducted by Giuseppe Sinopoli and directed by Luciano Damiani, who also designed the sets and costumes at the time. Director: Andreas Homoki Set Designer: Paul Zoller Costume Designer: Gideon Davey Lighting Designer: Franck Evin Premiere: 16.11.2014

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

This season

In Hamburg

Luisa Miller

Sat, May 30, 2026, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

"Luisa Miller" is Giuseppe Verdi’s third setting of a play by Friedrich Schiller. “It is a great drama, full of passion and very effective in theatrical terms,” the composer wrote to the librettist Salvadore Cammarano about Kabale und Liebe. In order to conform to the expectations of the censors and audience, Verdi first had to reduce the play to a libretto suitable for opera, moving the focus from Schiller’s political tale to the family drama. In his opera, first performed in Naples in 1849, Verdi produced outstanding character studies of all his protagonists. In this work he laid the foundation for many “Verdi types” of later years, e.g. Iago, Giorgio Germont, Aida or Desdemona. Luisa Miller was first performed in Hamburg at the Hamburg State Opera in 1981 in a new production conducted by Giuseppe Sinopoli and directed by Luciano Damiani, who also designed the sets and costumes at the time. Director: Andreas Homoki Set Designer: Paul Zoller Costume Designer: Gideon Davey Lighting Designer: Franck Evin Premiere: 16.11.2014

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

This season

In Hamburg

Luisa Miller

Wed, Jun 3, 2026, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

"Luisa Miller" is Giuseppe Verdi’s third setting of a play by Friedrich Schiller. “It is a great drama, full of passion and very effective in theatrical terms,” the composer wrote to the librettist Salvadore Cammarano about Kabale und Liebe. In order to conform to the expectations of the censors and audience, Verdi first had to reduce the play to a libretto suitable for opera, moving the focus from Schiller’s political tale to the family drama. In his opera, first performed in Naples in 1849, Verdi produced outstanding character studies of all his protagonists. In this work he laid the foundation for many “Verdi types” of later years, e.g. Iago, Giorgio Germont, Aida or Desdemona. Luisa Miller was first performed in Hamburg at the Hamburg State Opera in 1981 in a new production conducted by Giuseppe Sinopoli and directed by Luciano Damiani, who also designed the sets and costumes at the time. Director: Andreas Homoki Set Designer: Paul Zoller Costume Designer: Gideon Davey Lighting Designer: Franck Evin Premiere: 16.11.2014

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

This season

In Hamburg

Luisa Miller

Fri, Jun 5, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

"Luisa Miller" is Giuseppe Verdi’s third setting of a play by Friedrich Schiller. “It is a great drama, full of passion and very effective in theatrical terms,” the composer wrote to the librettist Salvadore Cammarano about Kabale und Liebe. In order to conform to the expectations of the censors and audience, Verdi first had to reduce the play to a libretto suitable for opera, moving the focus from Schiller’s political tale to the family drama. In his opera, first performed in Naples in 1849, Verdi produced outstanding character studies of all his protagonists. In this work he laid the foundation for many “Verdi types” of later years, e.g. Iago, Giorgio Germont, Aida or Desdemona. Luisa Miller was first performed in Hamburg at the Hamburg State Opera in 1981 in a new production conducted by Giuseppe Sinopoli and directed by Luciano Damiani, who also designed the sets and costumes at the time. Director: Andreas Homoki Set Designer: Paul Zoller Costume Designer: Gideon Davey Lighting Designer: Franck Evin Premiere: 16.11.2014

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

Classical concerts featuringKristina Stanek

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Classical concerts featuring
Kristina Stanek