Classical concerts featuring
Mziwamadoda Sipho Nodlayiya

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New Arrivals

These concerts featuring Mziwamadoda Sipho Nodlayiya became visible lately at Concert Pulse.

This season

In Hamburg

Salome

Sun, Oct 5, 2025, 18:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Omer Meir Wellber (Musical Director), Wolfgang Ablinger-Sperrhacke (Herodes), Doris Soffel (Herodias), Ambur Braid (Salome), Kyle Ketelsen (Jochanaan), Aebh Kelly (Page), Oleksiy Palchykov (Narraboth), James Kryshak (1. Jude), Colin Aikins (2. Jude), Daniel Kluge (3. Jude), Mziwamadoda Sipho Nodlayiya (4. Jude), Keith Klein (5. Jude), Nicholas Mogg (1. Nazarener), William Desbiens (2. Nazarener), Hubert Kowalczyk (1. Soldat), Philharmonisches Staatsorchester Hamburg (Orchestra)

Under the face of the wandering moon, spirit and body quarrel in all their greatness and wretchedness until the blood of two bodies flows. Strauss remains close to Wilde's re-creation of the biblical material, which leads Salome from her mother's tool to autonomy. It is she who, in her unfulfilled desire for the liberatingly different, the body of the prophet Jochanaan, seeks revenge and demands his head - a price the male-dominated society around Herod is willing to pay for their dance. Now that Salome holds his severed head in her hands, she can kiss Jochanaan, possess him if not alive, then dead. As if under a burning glass, Strauss pours Oscar Wilde's demonic dramaturgy into sound like an eruption of the psyche, accompanying his protagonist from her failed escape from the decadence of her existence to her death. Production: Dmitri Tcherniakov Costumes: Elena Zaytseva Lighting: Gleb Filshtinsky Dramaturgy: Tatiana Verestchagina, Janina Zell

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

This season

In Hamburg

Salome

Tue, Oct 7, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Omer Meir Wellber (Musical Director), Wolfgang Ablinger-Sperrhacke (Herodes), Doris Soffel (Herodias), Asmik Grigorian (Salome), Kyle Ketelsen (Jochanaan), Aebh Kelly (Page), Oleksiy Palchykov (Narraboth), James Kryshak (1. Jude), Colin Aikins (2. Jude), Daniel Kluge (3. Jude), Mziwamadoda Sipho Nodlayiya (4. Jude), Keith Klein (5. Jude), Nicholas Mogg (1. Nazarener), William Desbiens (2. Nazarener), Hubert Kowalczyk (1. Soldat), Philharmonisches Staatsorchester Hamburg (Orchestra)

Under the face of the wandering moon, spirit and body quarrel in all their greatness and wretchedness until the blood of two bodies flows. Strauss remains close to Wilde's re-creation of the biblical material, which leads Salome from her mother's tool to autonomy. It is she who, in her unfulfilled desire for the liberatingly different, the body of the prophet Jochanaan, seeks revenge and demands his head - a price the male-dominated society around Herod is willing to pay for their dance. Now that Salome holds his severed head in her hands, she can kiss Jochanaan, possess him if not alive, then dead. As if under a burning glass, Strauss pours Oscar Wilde's demonic dramaturgy into sound like an eruption of the psyche, accompanying his protagonist from her failed escape from the decadence of her existence to her death. Production: Dmitri Tcherniakov Costumes: Elena Zaytseva Lighting: Gleb Filshtinsky Dramaturgy: Tatiana Verestchagina, Janina Zell

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

This season

In Hamburg

Salome

Thu, Oct 9, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Under the face of the wandering moon, spirit and body quarrel in all their greatness and wretchedness until the blood of two bodies flows. Strauss remains close to Wilde's re-creation of the biblical material, which leads Salome from her mother's tool to autonomy. It is she who, in her unfulfilled desire for the liberatingly different, the body of the prophet Jochanaan, seeks revenge and demands his head - a price the male-dominated society around Herod is willing to pay for their dance. Now that Salome holds his severed head in her hands, she can kiss Jochanaan, possess him if not alive, then dead. As if under a burning glass, Strauss pours Oscar Wilde's demonic dramaturgy into sound like an eruption of the psyche, accompanying his protagonist from her failed escape from the decadence of her existence to her death. Production: Dmitri Tcherniakov Costumes: Elena Zaytseva Lighting: Gleb Filshtinsky Dramaturgy: Tatiana Verestchagina, Janina Zell

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

Upcoming Concerts

Concerts featuring Mziwamadoda Sipho Nodlayiya in season 2024/25 or later

This week

In Hamburg

Rigoletto

Sat, Mar 15, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Henrik Nánási (Musical Director), Piero Pretti (Il Duca di Mantova), Amartuvshin Enkhbat (Rigoletto), Katharina Konradi (Gilda), Grzegorz Pelutis (Il Conte Monterone), Keith Klein (Il Conte di Ceprano), Yeonjoo Katharina Jang (La Contessa di Ceprano), David Minseok Kang (Marullo), Mziwamadoda Sipho Nodlayiya (Borsa), Hubert Kowalczyk (Sparafucile), Jana Kurucová (Maddalena), Katja Pieweck (Giovanna), Yeonjoo Katharina Jang (Il Paggio della Duchessa), William Desbiens (Un Usciere di Corte), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)

Never one to miss an opportunity to make fun of others, the hunchback jester Rigoletto is employed by the Duke of Mantua. His only joy in life is his daughter Gilda. When Rigoletto must witness how she falls for the calculated vows of love of the unscrupulous Duke, he is out for revenge: he hires the contract killer Sparafucile to murder the seducer. Gilda, however, sacrifices herself for her lover. Rigoletto realises that he has driven his daughter to death and destroyed his own life. Ever since the figure of Rigoletto walked onstage for the first time in Venice in 1851, his fate has moved audiences at opera houses everywhere. Giuseppe Verdi achieved world fame with the opera and its ubiquitous melodies – although it is a piece without heroes: thus Rigoletto, that cynical and lovesick father, joined the broad ranks of Verdi figures who are social outcasts and previously never had a voice in the history of opera. Director: Andreas Homoki Set and Costme Designer: Wolfgang Gussmann Lighting Designer: Manfred Voss Premiere: 16.10.1994

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

Next week

In Hamburg

Rigoletto

Tue, Mar 18, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Never one to miss an opportunity to make fun of others, the hunchback jester Rigoletto is employed by the Duke of Mantua. His only joy in life is his daughter Gilda. When Rigoletto must witness how she falls for the calculated vows of love of the unscrupulous Duke, he is out for revenge: he hires the contract killer Sparafucile to murder the seducer. Gilda, however, sacrifices herself for her lover. Rigoletto realises that he has driven his daughter to death and destroyed his own life. Ever since the figure of Rigoletto walked onstage for the first time in Venice in 1851, his fate has moved audiences at opera houses everywhere. Giuseppe Verdi achieved world fame with the opera and its ubiquitous melodies – although it is a piece without heroes: thus Rigoletto, that cynical and lovesick father, joined the broad ranks of Verdi figures who are social outcasts and previously never had a voice in the history of opera. Director: Andreas Homoki Set and Costme Designer: Wolfgang Gussmann Lighting Designer: Manfred Voss Premiere: 16.10.1994

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

Next week

In Hamburg

Rigoletto

Thu, Mar 20, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Never one to miss an opportunity to make fun of others, the hunchback jester Rigoletto is employed by the Duke of Mantua. His only joy in life is his daughter Gilda. When Rigoletto must witness how she falls for the calculated vows of love of the unscrupulous Duke, he is out for revenge: he hires the contract killer Sparafucile to murder the seducer. Gilda, however, sacrifices herself for her lover. Rigoletto realises that he has driven his daughter to death and destroyed his own life. Ever since the figure of Rigoletto walked onstage for the first time in Venice in 1851, his fate has moved audiences at opera houses everywhere. Giuseppe Verdi achieved world fame with the opera and its ubiquitous melodies – although it is a piece without heroes: thus Rigoletto, that cynical and lovesick father, joined the broad ranks of Verdi figures who are social outcasts and previously never had a voice in the history of opera. Director: Andreas Homoki Set and Costme Designer: Wolfgang Gussmann Lighting Designer: Manfred Voss Premiere: 16.10.1994

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

Next week

In Hamburg

La Fanciulla del West (The Girl of the West)

Fri, Mar 21, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Paolo Carignani (Musical Director), Christian Günther (Chorleitung), Anna Pirozzi (Minnie), Claudio Sgura (Jack Rance), Gregory Kunde (Dick Johnson), Andrew Dickinson (Nick), Han Kim (Ashby), Tigran Martirossian (Sonora), Paul Kaufmann (Trin), Nicholas Mogg (Sid), Charles Rice (Bello), Mziwamadoda Sipho Nodlayiya (Harry), Ziad Nehme (Joe), William Desbiens (Happy), Grzegorz Pelutis (Larkens), Mateusz Ługowski (Billy Jackrabbit), Aebh Kelly (Wowkle), David Minseok Kang (Jake Wallace), Keith Klein (Josè Castro), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)

California in 1850: hundreds of thousands have fallen for the gold rush – and some of them also for the barkeeper Minnie, at whose saloon various fortune seekers meet every evening. Among them is Sheriff Jack Rance. Minnie, however, falls in love with the stranger Dick Johnson. It soon turns out that Johnson is a wanted robber: the sheriff wants to see him hang and have Minnie to himself. A round of poker is to decide about Dick’s life: is there yet another trump up Minnie’s sleeve? Puccini certainly held a trump with his Fanciulla, and even considered the piece his best: after world hits such as La Bohème and Madama Butterfly he had reinvented himself with this “spaghetti western”. In La Fanciulla del West, he combined ragtime rhythms, allusions to gospel singing and the music of the native Americans with Italian melodiousness, resulting in a lushly orchestrated broadband sound. This did not fail to affect the audience at the first performance at New York’s Metropolitan Opera in 1910. And yet, compared to Puccini’s major hits, the piece languished in the shadows for a long time – until the musical gold diggers set out to reclaim it… Director: Vincent Boussard Set Designer: Vincent Lemaire Costume Designer: Christian Lacroix Lighting Designer: Guido Levi Premiere: 01.02.2015

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

This month

In Hamburg

Rigoletto

Sun, Mar 23, 2025, 15:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Never one to miss an opportunity to make fun of others, the hunchback jester Rigoletto is employed by the Duke of Mantua. His only joy in life is his daughter Gilda. When Rigoletto must witness how she falls for the calculated vows of love of the unscrupulous Duke, he is out for revenge: he hires the contract killer Sparafucile to murder the seducer. Gilda, however, sacrifices herself for her lover. Rigoletto realises that he has driven his daughter to death and destroyed his own life. Ever since the figure of Rigoletto walked onstage for the first time in Venice in 1851, his fate has moved audiences at opera houses everywhere. Giuseppe Verdi achieved world fame with the opera and its ubiquitous melodies – although it is a piece without heroes: thus Rigoletto, that cynical and lovesick father, joined the broad ranks of Verdi figures who are social outcasts and previously never had a voice in the history of opera. Director: Andreas Homoki Set and Costme Designer: Wolfgang Gussmann Lighting Designer: Manfred Voss Premiere: 16.10.1994

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

This month

In Hamburg

La Fanciulla del West (The Girl of the West)

Wed, Mar 26, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

California in 1850: hundreds of thousands have fallen for the gold rush – and some of them also for the barkeeper Minnie, at whose saloon various fortune seekers meet every evening. Among them is Sheriff Jack Rance. Minnie, however, falls in love with the stranger Dick Johnson. It soon turns out that Johnson is a wanted robber: the sheriff wants to see him hang and have Minnie to himself. A round of poker is to decide about Dick’s life: is there yet another trump up Minnie’s sleeve? Puccini certainly held a trump with his Fanciulla, and even considered the piece his best: after world hits such as La Bohème and Madama Butterfly he had reinvented himself with this “spaghetti western”. In La Fanciulla del West, he combined ragtime rhythms, allusions to gospel singing and the music of the native Americans with Italian melodiousness, resulting in a lushly orchestrated broadband sound. This did not fail to affect the audience at the first performance at New York’s Metropolitan Opera in 1910. And yet, compared to Puccini’s major hits, the piece languished in the shadows for a long time – until the musical gold diggers set out to reclaim it… Director: Vincent Boussard Set Designer: Vincent Lemaire Costume Designer: Christian Lacroix Lighting Designer: Guido Levi Premiere: 01.02.2015

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

This month

In Hamburg

La Fanciulla del West (The Girl of the West)

Sat, Mar 29, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

California in 1850: hundreds of thousands have fallen for the gold rush – and some of them also for the barkeeper Minnie, at whose saloon various fortune seekers meet every evening. Among them is Sheriff Jack Rance. Minnie, however, falls in love with the stranger Dick Johnson. It soon turns out that Johnson is a wanted robber: the sheriff wants to see him hang and have Minnie to himself. A round of poker is to decide about Dick’s life: is there yet another trump up Minnie’s sleeve? Puccini certainly held a trump with his Fanciulla, and even considered the piece his best: after world hits such as La Bohème and Madama Butterfly he had reinvented himself with this “spaghetti western”. In La Fanciulla del West, he combined ragtime rhythms, allusions to gospel singing and the music of the native Americans with Italian melodiousness, resulting in a lushly orchestrated broadband sound. This did not fail to affect the audience at the first performance at New York’s Metropolitan Opera in 1910. And yet, compared to Puccini’s major hits, the piece languished in the shadows for a long time – until the musical gold diggers set out to reclaim it… Director: Vincent Boussard Set Designer: Vincent Lemaire Costume Designer: Christian Lacroix Lighting Designer: Guido Levi Premiere: 01.02.2015

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

Next month

In Hamburg

La Fanciulla del West (The Girl of the West)

Fri, Apr 4, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

California in 1850: hundreds of thousands have fallen for the gold rush – and some of them also for the barkeeper Minnie, at whose saloon various fortune seekers meet every evening. Among them is Sheriff Jack Rance. Minnie, however, falls in love with the stranger Dick Johnson. It soon turns out that Johnson is a wanted robber: the sheriff wants to see him hang and have Minnie to himself. A round of poker is to decide about Dick’s life: is there yet another trump up Minnie’s sleeve? Puccini certainly held a trump with his Fanciulla, and even considered the piece his best: after world hits such as La Bohème and Madama Butterfly he had reinvented himself with this “spaghetti western”. In La Fanciulla del West, he combined ragtime rhythms, allusions to gospel singing and the music of the native Americans with Italian melodiousness, resulting in a lushly orchestrated broadband sound. This did not fail to affect the audience at the first performance at New York’s Metropolitan Opera in 1910. And yet, compared to Puccini’s major hits, the piece languished in the shadows for a long time – until the musical gold diggers set out to reclaim it… Director: Vincent Boussard Set Designer: Vincent Lemaire Costume Designer: Christian Lacroix Lighting Designer: Guido Levi Premiere: 01.02.2015

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

Next month

In Hamburg

Parsifal

Fri, Apr 18, 2025, 16:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Patrick Hahn (Musical Director), Christoph Pohl (Amfortas), Han Kim (Titurel), Kwangchul Youn (Gurnemanz), Benjamin Bruns (Parsifal), Mark Stone (Klingsor), Iréne Theorin (Kundry), Jürgen Sacher (1. Gralsritter), Hubert Kowalczyk (2. Gralsritter), Marie Maidowski (1. Knappe), Aebh Kelly (2. Knappe), Ziad Nehme (3. Knappe), Mziwamadoda Sipho Nodlayiya (4. Knappe), Yeonjoo Katharina Jang (Blumenmädchen I), Yeonjoo Katharina Jang (1), Hongping Ruan (Blumenmädchen 1), Hongping Ruan (2), Ida Aldrian (Blumenmädchen I. 3), Na'ama Shulman (Blumenmädchen II. 1), Gabriele Rossmanith (Blumenmädchen II. 2), Marta Świderska (Blumenmädchen II. 3), Ida Aldrian (Stimme aus der Höhe), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)

Achim Freyer's visually powerful realization of Richard Wagner's stage festival play Parsifal is itself a fascinating synthesis of the arts. The director, stage and costume designer shows us a world of colors and symbols that emerge from the spirit of the music. Wagner's farewell to the world revolves around the central idea of compassion, compassion for other people and for nature. The use of Christian symbols mixed with Buddhist and philosophical ideas is to be understood symbolically. Wagner's last score takes us on a journey into the innermost depths of existence and musically points far into the future. Director, Set-, Costume- and Lightdesign: Achim Freyer Artistic Collaboration: Sebastian Bauer Set Design Collaboration: Moritz Nitsche Costume Design Collaboration: Petra Weikert Light Design Collaboration: Sebastian Alphons Video: Jakob Klaffs/Hugo Reis Dramaturgy: Klaus-Peter Kehr Premiere: 16.9.2017

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

Next month

In Hamburg

Parsifal

Mon, Apr 21, 2025, 15:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Achim Freyer's visually powerful realization of Richard Wagner's stage festival play Parsifal is itself a fascinating synthesis of the arts. The director, stage and costume designer shows us a world of colors and symbols that emerge from the spirit of the music. Wagner's farewell to the world revolves around the central idea of compassion, compassion for other people and for nature. The use of Christian symbols mixed with Buddhist and philosophical ideas is to be understood symbolically. Wagner's last score takes us on a journey into the innermost depths of existence and musically points far into the future. Director, Set-, Costume- and Lightdesign: Achim Freyer Artistic Collaboration: Sebastian Bauer Set Design Collaboration: Moritz Nitsche Costume Design Collaboration: Petra Weikert Light Design Collaboration: Sebastian Alphons Video: Jakob Klaffs/Hugo Reis Dramaturgy: Klaus-Peter Kehr Premiere: 16.9.2017

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

Next month

In Hamburg

Parsifal

Sun, Apr 27, 2025, 16:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Achim Freyer's visually powerful realization of Richard Wagner's stage festival play Parsifal is itself a fascinating synthesis of the arts. The director, stage and costume designer shows us a world of colors and symbols that emerge from the spirit of the music. Wagner's farewell to the world revolves around the central idea of compassion, compassion for other people and for nature. The use of Christian symbols mixed with Buddhist and philosophical ideas is to be understood symbolically. Wagner's last score takes us on a journey into the innermost depths of existence and musically points far into the future. Director, Set-, Costume- and Lightdesign: Achim Freyer Artistic Collaboration: Sebastian Bauer Set Design Collaboration: Moritz Nitsche Costume Design Collaboration: Petra Weikert Light Design Collaboration: Sebastian Alphons Video: Jakob Klaffs/Hugo Reis Dramaturgy: Klaus-Peter Kehr Premiere: 16.9.2017

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

This season

In Hamburg

Parsifal

Sun, May 4, 2025, 16:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Achim Freyer's visually powerful realization of Richard Wagner's stage festival play Parsifal is itself a fascinating synthesis of the arts. The director, stage and costume designer shows us a world of colors and symbols that emerge from the spirit of the music. Wagner's farewell to the world revolves around the central idea of compassion, compassion for other people and for nature. The use of Christian symbols mixed with Buddhist and philosophical ideas is to be understood symbolically. Wagner's last score takes us on a journey into the innermost depths of existence and musically points far into the future. Director, Set-, Costume- and Lightdesign: Achim Freyer Artistic Collaboration: Sebastian Bauer Set Design Collaboration: Moritz Nitsche Costume Design Collaboration: Petra Weikert Light Design Collaboration: Sebastian Alphons Video: Jakob Klaffs/Hugo Reis Dramaturgy: Klaus-Peter Kehr Premiere: 16.9.2017

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

This season

In Hamburg

Salome

Sun, Oct 5, 2025, 18:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Under the face of the wandering moon, spirit and body quarrel in all their greatness and wretchedness until the blood of two bodies flows. Strauss remains close to Wilde's re-creation of the biblical material, which leads Salome from her mother's tool to autonomy. It is she who, in her unfulfilled desire for the liberatingly different, the body of the prophet Jochanaan, seeks revenge and demands his head - a price the male-dominated society around Herod is willing to pay for their dance. Now that Salome holds his severed head in her hands, she can kiss Jochanaan, possess him if not alive, then dead. As if under a burning glass, Strauss pours Oscar Wilde's demonic dramaturgy into sound like an eruption of the psyche, accompanying his protagonist from her failed escape from the decadence of her existence to her death. Production: Dmitri Tcherniakov Costumes: Elena Zaytseva Lighting: Gleb Filshtinsky Dramaturgy: Tatiana Verestchagina, Janina Zell

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

This season

In Hamburg

Salome

Tue, Oct 7, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Under the face of the wandering moon, spirit and body quarrel in all their greatness and wretchedness until the blood of two bodies flows. Strauss remains close to Wilde's re-creation of the biblical material, which leads Salome from her mother's tool to autonomy. It is she who, in her unfulfilled desire for the liberatingly different, the body of the prophet Jochanaan, seeks revenge and demands his head - a price the male-dominated society around Herod is willing to pay for their dance. Now that Salome holds his severed head in her hands, she can kiss Jochanaan, possess him if not alive, then dead. As if under a burning glass, Strauss pours Oscar Wilde's demonic dramaturgy into sound like an eruption of the psyche, accompanying his protagonist from her failed escape from the decadence of her existence to her death. Production: Dmitri Tcherniakov Costumes: Elena Zaytseva Lighting: Gleb Filshtinsky Dramaturgy: Tatiana Verestchagina, Janina Zell

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

This season

In Hamburg

Salome

Thu, Oct 9, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Under the face of the wandering moon, spirit and body quarrel in all their greatness and wretchedness until the blood of two bodies flows. Strauss remains close to Wilde's re-creation of the biblical material, which leads Salome from her mother's tool to autonomy. It is she who, in her unfulfilled desire for the liberatingly different, the body of the prophet Jochanaan, seeks revenge and demands his head - a price the male-dominated society around Herod is willing to pay for their dance. Now that Salome holds his severed head in her hands, she can kiss Jochanaan, possess him if not alive, then dead. As if under a burning glass, Strauss pours Oscar Wilde's demonic dramaturgy into sound like an eruption of the psyche, accompanying his protagonist from her failed escape from the decadence of her existence to her death. Production: Dmitri Tcherniakov Costumes: Elena Zaytseva Lighting: Gleb Filshtinsky Dramaturgy: Tatiana Verestchagina, Janina Zell

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

This season

In Hamburg

Salome

Sun, Oct 12, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Omer Meir Wellber (Musical Director), Wolfgang Ablinger-Sperrhacke (Herodes), Doris Soffel (Herodias), Asmik Grigorian (Salome), Kyle Ketelsen (Jochanaan), Aebh Kelly (Page), Oleksiy Palchykov (Narraboth), James Kryshak (1. Jude), Colin Aikins (2. Jude), Daniel Kluge (3. Jude), Mziwamadoda Sipho Nodlayiya (4. Jude), Nicholas Mogg (1. Nazarener), William Desbiens (2. Nazarener), Hubert Kowalczyk (1. Soldat), Philharmonisches Staatsorchester Hamburg (Orchestra)

Under the face of the wandering moon, spirit and body quarrel in all their greatness and wretchedness until the blood of two bodies flows. Strauss remains close to Wilde's re-creation of the biblical material, which leads Salome from her mother's tool to autonomy. It is she who, in her unfulfilled desire for the liberatingly different, the body of the prophet Jochanaan, seeks revenge and demands his head - a price the male-dominated society around Herod is willing to pay for their dance. Now that Salome holds his severed head in her hands, she can kiss Jochanaan, possess him if not alive, then dead. As if under a burning glass, Strauss pours Oscar Wilde's demonic dramaturgy into sound like an eruption of the psyche, accompanying his protagonist from her failed escape from the decadence of her existence to her death. Production: Dmitri Tcherniakov Costumes: Elena Zaytseva Lighting: Gleb Filshtinsky Dramaturgy: Tatiana Verestchagina, Janina Zell

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

This season

In Hamburg

Die Zauberflöte (The Magic Flute)

Sun, Nov 23, 2025, 16:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Keren Kagarlitsky (Musical Director), Christian Günther (Chorus), Hubert Kowalczyk (Sarastro), Liv Redpath (Pamina), Chao Deng (Speaker), Mziwamadoda Sipho Nodlayiya (Priester), Aleksandra Olczyk (Königin der Nacht), Narea Son (Erste Dame), Kady Evanyshyn (Zweite Dame), Michal Doron (Dritte Dame), Andrew Hamilton (Papageno), Peter Galliard (Monostatos), Marie Maidowski (Papagena), Jürgen Sacher (Erster Geharnischter), Keith Klein (Zweiter Geharnischter), Alsterspatzen – Kinder- und Jugendchor der Hamburgischen Staatsoper (Drei Knaben), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)

This opera is the world in a theatrical nutshell: it deals with growing older, with trials and tribulations, with intransparent decisions. One person searches for individuality, another is too lazy to do so. Others postulate that the community is the only adequate place for the individual. Power has either been legitimised by long tradition or usurped by new regimes. Values such as assimilation and loyalty are set against self-assertiveness and independence. There is loving and dreaming, cheating and trusting. Suicides are prevented, tests passed, adventures survived. Who is right? Who has been wronged? The world of the magic flute is opaque, and everyone is looking for a pathway: within it, into it or out of it. Who holds the reigns? Who can be trusted? Could it be music? Director: Jette Steckel Set Designer: Florian Lösche Costume Designer: Pauline Hüners Dramaturgy: Johannes Blum, Carl Hegemann Video: EINS[23].TV (Alexander Bunge) Lighting Design: Paulus Vogt Premiere: 23.9.2016 Please note that stroboscope effects and partly very bright lights are being used.

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

This season

In Hamburg

Die Zauberflöte (The Magic Flute)

Wed, Dec 3, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Keren Kagarlitsky (Musical Director), Christian Günther (Chorus), Hubert Kowalczyk (Sarastro), Eliza Boom (Pamina), Chao Deng (Speaker), Mziwamadoda Sipho Nodlayiya (Priester), Aleksandra Olczyk (Königin der Nacht), Narea Son (Erste Dame), Kady Evanyshyn (Zweite Dame), Michal Doron (Dritte Dame), Andrew Hamilton (Papageno), Daniel Kluge (Monostatos), Marie Maidowski (Papagena), Jürgen Sacher (Erster Geharnischter), Keith Klein (Zweiter Geharnischter), Alsterspatzen – Kinder- und Jugendchor der Hamburgischen Staatsoper (Drei Knaben), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)

This opera is the world in a theatrical nutshell: it deals with growing older, with trials and tribulations, with intransparent decisions. One person searches for individuality, another is too lazy to do so. Others postulate that the community is the only adequate place for the individual. Power has either been legitimised by long tradition or usurped by new regimes. Values such as assimilation and loyalty are set against self-assertiveness and independence. There is loving and dreaming, cheating and trusting. Suicides are prevented, tests passed, adventures survived. Who is right? Who has been wronged? The world of the magic flute is opaque, and everyone is looking for a pathway: within it, into it or out of it. Who holds the reigns? Who can be trusted? Could it be music? Director: Jette Steckel Set Designer: Florian Lösche Costume Designer: Pauline Hüners Dramaturgy: Johannes Blum, Carl Hegemann Video: EINS[23].TV (Alexander Bunge) Lighting Design: Paulus Vogt Premiere: 23.9.2016 Please note that stroboscope effects and partly very bright lights are being used.

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

This season

In Hamburg

Die Zauberflöte (The Magic Flute)

Wed, Dec 10, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Keren Kagarlitsky (Musical Director), Christian Günther (Chorus), Hubert Kowalczyk (Sarastro), Dovlet Nurgeldiyev (Tamino), Eliza Boom (Pamina), Chao Deng (Speaker), Mziwamadoda Sipho Nodlayiya (Priester), Aleksandra Olczyk (Königin der Nacht), Narea Son (Erste Dame), Kady Evanyshyn (Zweite Dame), Ida Aldrian (Dritte Dame), Andrew Hamilton (Papageno), Daniel Kluge (Monostatos), Marie Maidowski (Papagena), Jürgen Sacher (Erster Geharnischter), Keith Klein (Zweiter Geharnischter), Alsterspatzen – Kinder- und Jugendchor der Hamburgischen Staatsoper (Drei Knaben), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)

This opera is the world in a theatrical nutshell: it deals with growing older, with trials and tribulations, with intransparent decisions. One person searches for individuality, another is too lazy to do so. Others postulate that the community is the only adequate place for the individual. Power has either been legitimised by long tradition or usurped by new regimes. Values such as assimilation and loyalty are set against self-assertiveness and independence. There is loving and dreaming, cheating and trusting. Suicides are prevented, tests passed, adventures survived. Who is right? Who has been wronged? The world of the magic flute is opaque, and everyone is looking for a pathway: within it, into it or out of it. Who holds the reigns? Who can be trusted? Could it be music? Director: Jette Steckel Set Designer: Florian Lösche Costume Designer: Pauline Hüners Dramaturgy: Johannes Blum, Carl Hegemann Video: EINS[23].TV (Alexander Bunge) Lighting Design: Paulus Vogt Premiere: 23.9.2016 Please note that stroboscope effects and partly very bright lights are being used.

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

This season

In Hamburg

Die Zauberflöte (The Magic Flute)

Mon, Dec 15, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Keren Kagarlitsky (Musical Director), Christian Günther (Chorus), Hubert Kowalczyk (Sarastro), Dovlet Nurgeldiyev (Tamino), Eliza Boom (Pamina), Chao Deng (Speaker), Mziwamadoda Sipho Nodlayiya (Priester), Aleksandra Olczyk (Königin der Nacht), Narea Son (Erste Dame), Kady Evanyshyn (Zweite Dame), Ida Aldrian (Dritte Dame), Andrew Hamilton (Papageno), Peter Galliard (Monostatos), Marie Maidowski (Papagena), Jürgen Sacher (Erster Geharnischter), Keith Klein (Zweiter Geharnischter), Alsterspatzen – Kinder- und Jugendchor der Hamburgischen Staatsoper (Drei Knaben), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)

This opera is the world in a theatrical nutshell: it deals with growing older, with trials and tribulations, with intransparent decisions. One person searches for individuality, another is too lazy to do so. Others postulate that the community is the only adequate place for the individual. Power has either been legitimised by long tradition or usurped by new regimes. Values such as assimilation and loyalty are set against self-assertiveness and independence. There is loving and dreaming, cheating and trusting. Suicides are prevented, tests passed, adventures survived. Who is right? Who has been wronged? The world of the magic flute is opaque, and everyone is looking for a pathway: within it, into it or out of it. Who holds the reigns? Who can be trusted? Could it be music? Director: Jette Steckel Set Designer: Florian Lösche Costume Designer: Pauline Hüners Dramaturgy: Johannes Blum, Carl Hegemann Video: EINS[23].TV (Alexander Bunge) Lighting Design: Paulus Vogt Premiere: 23.9.2016 Please note that stroboscope effects and partly very bright lights are being used.

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

This season

In Hamburg

Die Zauberflöte (The Magic Flute)

Thu, Dec 18, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

This opera is the world in a theatrical nutshell: it deals with growing older, with trials and tribulations, with intransparent decisions. One person searches for individuality, another is too lazy to do so. Others postulate that the community is the only adequate place for the individual. Power has either been legitimised by long tradition or usurped by new regimes. Values such as assimilation and loyalty are set against self-assertiveness and independence. There is loving and dreaming, cheating and trusting. Suicides are prevented, tests passed, adventures survived. Who is right? Who has been wronged? The world of the magic flute is opaque, and everyone is looking for a pathway: within it, into it or out of it. Who holds the reigns? Who can be trusted? Could it be music? Director: Jette Steckel Set Designer: Florian Lösche Costume Designer: Pauline Hüners Dramaturgy: Johannes Blum, Carl Hegemann Video: EINS[23].TV (Alexander Bunge) Lighting Design: Paulus Vogt Premiere: 23.9.2016 Please note that stroboscope effects and partly very bright lights are being used.

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

This season

In Hamburg

Die Zauberflöte (The Magic Flute)

Tue, Dec 30, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Keren Kagarlitsky (Musical Director), Christian Günther (Chorus), Hubert Kowalczyk (Sarastro), Dovlet Nurgeldiyev (Tamino), Liv Redpath (Pamina), Chao Deng (Speaker), Mziwamadoda Sipho Nodlayiya (Priester), Aleksandra Olczyk (Königin der Nacht), Narea Son (Erste Dame), Kady Evanyshyn (Zweite Dame), Ida Aldrian (Dritte Dame), Andrew Hamilton (Papageno), Peter Galliard (Monostatos), Marie Maidowski (Papagena), Jürgen Sacher (Erster Geharnischter), Keith Klein (Zweiter Geharnischter), Alsterspatzen – Kinder- und Jugendchor der Hamburgischen Staatsoper (Drei Knaben), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)

This opera is the world in a theatrical nutshell: it deals with growing older, with trials and tribulations, with intransparent decisions. One person searches for individuality, another is too lazy to do so. Others postulate that the community is the only adequate place for the individual. Power has either been legitimised by long tradition or usurped by new regimes. Values such as assimilation and loyalty are set against self-assertiveness and independence. There is loving and dreaming, cheating and trusting. Suicides are prevented, tests passed, adventures survived. Who is right? Who has been wronged? The world of the magic flute is opaque, and everyone is looking for a pathway: within it, into it or out of it. Who holds the reigns? Who can be trusted? Could it be music? Director: Jette Steckel Set Designer: Florian Lösche Costume Designer: Pauline Hüners Dramaturgy: Johannes Blum, Carl Hegemann Video: EINS[23].TV (Alexander Bunge) Lighting Design: Paulus Vogt Premiere: 23.9.2016 Please note that stroboscope effects and partly very bright lights are being used.

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

This season

In Hamburg

Die Zauberflöte (The Magic Flute)

Sat, Jan 3, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Keren Kagarlitsky (Musical Director), Christian Günther (Chorus), Hubert Kowalczyk (Sarastro), Dovlet Nurgeldiyev (Tamino), Liv Redpath (Pamina), Chao Deng (Speaker), Mziwamadoda Sipho Nodlayiya (Priester), Aleksandra Olczyk (Königin der Nacht), Narea Son (Erste Dame), Kady Evanyshyn (Zweite Dame), Ida Aldrian (Dritte Dame), Andrew Hamilton (Papageno), Daniel Kluge (Monostatos), Marie Maidowski (Papagena), Jürgen Sacher (Erster Geharnischter), Keith Klein (Zweiter Geharnischter), Alsterspatzen – Kinder- und Jugendchor der Hamburgischen Staatsoper (Drei Knaben), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)

This opera is the world in a theatrical nutshell: it deals with growing older, with trials and tribulations, with intransparent decisions. One person searches for individuality, another is too lazy to do so. Others postulate that the community is the only adequate place for the individual. Power has either been legitimised by long tradition or usurped by new regimes. Values such as assimilation and loyalty are set against self-assertiveness and independence. There is loving and dreaming, cheating and trusting. Suicides are prevented, tests passed, adventures survived. Who is right? Who has been wronged? The world of the magic flute is opaque, and everyone is looking for a pathway: within it, into it or out of it. Who holds the reigns? Who can be trusted? Could it be music? Director: Jette Steckel Set Designer: Florian Lösche Costume Designer: Pauline Hüners Dramaturgy: Johannes Blum, Carl Hegemann Video: EINS[23].TV (Alexander Bunge) Lighting Design: Paulus Vogt Premiere: 23.9.2016 Please note that stroboscope effects and partly very bright lights are being used.

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

This season

In Hamburg

La Traviata

Wed, Jan 7, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

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

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

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

This season

In Hamburg

La Traviata

Sun, Jan 11, 2026, 16:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

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

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

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

This season

In Hamburg

La Traviata

Fri, Jan 16, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

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

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

This season

In Hamburg

La Traviata

Sat, Jan 31, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

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

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

This season

In Hamburg

La Traviata

Tue, Feb 3, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

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

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

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

This season

In Hamburg

Pique Dame

Sat, Feb 7, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

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

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

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

This season

In Hamburg

La Traviata

Tue, Feb 17, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

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

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

Classical concerts featuringMziwamadoda Sipho Nodlayiya

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Classical concerts featuring
Mziwamadoda Sipho Nodlayiya