Classical concerts featuring
Nicholas Mogg

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Quick overview of musician Nicholas Mogg by associated keywords

New Arrivals

These concerts featuring Nicholas Mogg 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 Nicholas Mogg in season 2024/25 or later

In a few days

In Hamburg

Don Pasquale

Fri, Mar 14, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Francesco Ivan Ciampa (Musical Director), Christian Günther (Chorleitung), Roberto Frontali (Don Pasquale), Kartal Karagedik (Dottore Malatesta), Jack Swanson (Ernesto), Alexandra Oomens (Norina), Nicholas Mogg (Un Notario), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)

Don Pasquale, an older, wealthy man with a desire for a young, modest wife, meets the young couple Ernesto and Norina in Donizetti's opera. The only thing missing for their great love happiness is the blessing of money. Malatesta, a doctor friend, develops a cunning plan so that in the end the perfect intrigue emerges and Don Pasquale becomes the plaything of the young people. Production: David Bösch Stage design: Patrick Bannwart Costumes: Falko Herold Lighting: Bernd Gallasch Dramaturgy: Detlef Giese Chorus: Christian Günther Premiere on: 29.05.2022

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

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)

This season

In Hamburg

Salome

Sat, Jun 7, 2025, 19:30

Hamburgische Staatsoper, Großes Haus (Hamburg)

Alexander Soddy (Musical Director), Peter Hoare (Herodes), Claudia Mahnke (Herodias), Vida Miknevičiūtė (Salome), Christopher Maltman (Jochanaan), Clare Presland (Page), Florian Panzieri (Narraboth), Ziad Nehme (1. Jude), Jürgen Sacher (2. Jude), Daniel Kluge (3. Jude), Aaron Godfrey-Mayes (4. Jude), Hubert Kowalczyk (5. Jude), Liam James Karai (1. Nazarener), Nicholas Mogg (2. Nazarener), David Minseok Kang (1. Soldat), Karl Huml (2. 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, Jun 12, 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

Sat, Jun 14, 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

Wed, Jun 18, 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

Così fan tutte

Sun, Jun 22, 2025, 17:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Alexander Joel (Musical Director), Christian Günther (Chorleitung), Jennifer Davis (Fiordiligi), Jana Kurucová (Dorabella), Nicholas Mogg (Guglielmo), Dovlet Nurgeldiyev (Ferrando), Siobhan Stagg (Despina), Joshua Bloom (Don Alfonso), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)

Seeking to test their girlfriends’ fidelity, two men wager that they will remain steadfast. They subject the women to passionate onslaught, and in the end, the fortress of their faithfulness falls. The men, however, involved as they are in the experiment, failed to reckon that they too might betray their partners and feelings. All this cheating, confusing, lying – to others and oneself – is grotesquely comical and simultaneously cruel. One side is inclined not to think about the new situation (Guglielmo and Dorabella), while the others try to comprehend it to the point of exhaustion (Fiordiligi and Ferrando). The final ceremony seeks to cement the social status quo, bringing this new freedom to its knees. The marriage, however, is only for show, and beneath the surface of tradition, the first cracks appear. Director: Herbert Fritsch Costume Designer: Victoria Behr Lighting Designer: Carsten Sander Dramaturgy: Johannes Blum Premiere: September 8th, 2018

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

This season

In Hamburg

Così fan tutte

Wed, Jun 25, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Seeking to test their girlfriends’ fidelity, two men wager that they will remain steadfast. They subject the women to passionate onslaught, and in the end, the fortress of their faithfulness falls. The men, however, involved as they are in the experiment, failed to reckon that they too might betray their partners and feelings. All this cheating, confusing, lying – to others and oneself – is grotesquely comical and simultaneously cruel. One side is inclined not to think about the new situation (Guglielmo and Dorabella), while the others try to comprehend it to the point of exhaustion (Fiordiligi and Ferrando). The final ceremony seeks to cement the social status quo, bringing this new freedom to its knees. The marriage, however, is only for show, and beneath the surface of tradition, the first cracks appear. Director: Herbert Fritsch Costume Designer: Victoria Behr Lighting Designer: Carsten Sander Dramaturgy: Johannes Blum Premiere: September 8th, 2018

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

This season

In Hamburg

Così fan tutte

Sat, Jun 28, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Seeking to test their girlfriends’ fidelity, two men wager that they will remain steadfast. They subject the women to passionate onslaught, and in the end, the fortress of their faithfulness falls. The men, however, involved as they are in the experiment, failed to reckon that they too might betray their partners and feelings. All this cheating, confusing, lying – to others and oneself – is grotesquely comical and simultaneously cruel. One side is inclined not to think about the new situation (Guglielmo and Dorabella), while the others try to comprehend it to the point of exhaustion (Fiordiligi and Ferrando). The final ceremony seeks to cement the social status quo, bringing this new freedom to its knees. The marriage, however, is only for show, and beneath the surface of tradition, the first cracks appear. Director: Herbert Fritsch Costume Designer: Victoria Behr Lighting Designer: Carsten Sander Dramaturgy: Johannes Blum Premiere: September 8th, 2018

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

This season

In Hamburg

Così fan tutte

Wed, Jul 2, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Seeking to test their girlfriends’ fidelity, two men wager that they will remain steadfast. They subject the women to passionate onslaught, and in the end, the fortress of their faithfulness falls. The men, however, involved as they are in the experiment, failed to reckon that they too might betray their partners and feelings. All this cheating, confusing, lying – to others and oneself – is grotesquely comical and simultaneously cruel. One side is inclined not to think about the new situation (Guglielmo and Dorabella), while the others try to comprehend it to the point of exhaustion (Fiordiligi and Ferrando). The final ceremony seeks to cement the social status quo, bringing this new freedom to its knees. The marriage, however, is only for show, and beneath the surface of tradition, the first cracks appear. Director: Herbert Fritsch Costume Designer: Victoria Behr Lighting Designer: Carsten Sander Dramaturgy: Johannes Blum Premiere: September 8th, 2018

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

Ariadne auf Naxos

Sun, Nov 16, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Johannes Debus (Musical Director), Wolfram Koch (Theseus), Anja Kampe (Ariadne), Nadezhda Pavlova (Zerbinetta), Jamez McCorkle (Bacchus), Martin Gantner (Musiklehrer), Annika Schlicht (Komponist), Colin Aikins (Ein Offizier), William Desbiens (Perückenmacher), Keith Klein (Betrunkener Gast), Nicholas Mogg (Harlekin), Florian Panzieri (Scaramuccio), Daniel Kluge (Brighella), Olivia Warburton (Najade), Aebh Kelly (Dryade), Marie Maidowski (Echo), Philharmonisches Staatsorchester Hamburg (Orchestra)

"It is a simple and tremendous problem of life: that of fidelity", is how Hugo von Hofmannsthal described the core of their third opera together, Ariadne auf Naxos, in a letter to Richard Strauss. To live does not mean to persevere and hold on to what has been lost. If you want to live, you have to let go, forget, get over yourself - constantly transform yourself. This is what a young opera composer experiences in this work when he is confronted with the stubborn wishes of his patron; just like the protagonist of his opera, Ariadne, who, abandoned by her lover, Theseus, expects only death. But things turn out differently... Strauss and Hofmannsthal let the opposites collide: Tragedy and comedy, light music and grand opera, playfulness and seriousness. Thus, in the mirroring of art and life, between gaze and gaze, the unfathomable mystery of transformation takes place. Musical Direction: Kent Nagano Production and stage: Dmitri Tcherniakov Costumes: Elena Zaytseva Light Design: Gleb Filshtinsky Dramaturgy: Angela Beuerle, Michael Sangkuhl, Tatiana Werestchagina

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

This season

In Hamburg

Ariadne auf Naxos

Fri, Nov 21, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Johannes Debus (Musical Director), Wolfram Koch (Theseus), Anja Kampe (Ariadne), Jamez McCorkle (Bacchus), Martin Gantner (Musiklehrer), Annika Schlicht (Komponist), Colin Aikins (Ein Offizier), William Desbiens (Perückenmacher), Keith Klein (Betrunkener Gast), Nicholas Mogg (Harlekin), Florian Panzieri (Scaramuccio), Daniel Kluge (Brighella), Olivia Warburton (Najade), Aebh Kelly (Dryade), Marie Maidowski (Echo), Philharmonisches Staatsorchester Hamburg (Orchestra)

"It is a simple and tremendous problem of life: that of fidelity", is how Hugo von Hofmannsthal described the core of their third opera together, Ariadne auf Naxos, in a letter to Richard Strauss. To live does not mean to persevere and hold on to what has been lost. If you want to live, you have to let go, forget, get over yourself - constantly transform yourself. This is what a young opera composer experiences in this work when he is confronted with the stubborn wishes of his patron; just like the protagonist of his opera, Ariadne, who, abandoned by her lover, Theseus, expects only death. But things turn out differently... Strauss and Hofmannsthal let the opposites collide: Tragedy and comedy, light music and grand opera, playfulness and seriousness. Thus, in the mirroring of art and life, between gaze and gaze, the unfathomable mystery of transformation takes place. Musical Direction: Kent Nagano Production and stage: Dmitri Tcherniakov Costumes: Elena Zaytseva Light Design: Gleb Filshtinsky Dramaturgy: Angela Beuerle, Michael Sangkuhl, Tatiana Werestchagina

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

This season

In Hamburg

Ariadne auf Naxos

Fri, Nov 28, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

"It is a simple and tremendous problem of life: that of fidelity", is how Hugo von Hofmannsthal described the core of their third opera together, Ariadne auf Naxos, in a letter to Richard Strauss. To live does not mean to persevere and hold on to what has been lost. If you want to live, you have to let go, forget, get over yourself - constantly transform yourself. This is what a young opera composer experiences in this work when he is confronted with the stubborn wishes of his patron; just like the protagonist of his opera, Ariadne, who, abandoned by her lover, Theseus, expects only death. But things turn out differently... Strauss and Hofmannsthal let the opposites collide: Tragedy and comedy, light music and grand opera, playfulness and seriousness. Thus, in the mirroring of art and life, between gaze and gaze, the unfathomable mystery of transformation takes place. Musical Direction: Kent Nagano Production and stage: Dmitri Tcherniakov Costumes: Elena Zaytseva Light Design: Gleb Filshtinsky Dramaturgy: Angela Beuerle, Michael Sangkuhl, Tatiana Werestchagina

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

This season

In Hamburg

Ariadne auf Naxos

Thu, Dec 4, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

"It is a simple and tremendous problem of life: that of fidelity", is how Hugo von Hofmannsthal described the core of their third opera together, Ariadne auf Naxos, in a letter to Richard Strauss. To live does not mean to persevere and hold on to what has been lost. If you want to live, you have to let go, forget, get over yourself - constantly transform yourself. This is what a young opera composer experiences in this work when he is confronted with the stubborn wishes of his patron; just like the protagonist of his opera, Ariadne, who, abandoned by her lover, Theseus, expects only death. But things turn out differently... Strauss and Hofmannsthal let the opposites collide: Tragedy and comedy, light music and grand opera, playfulness and seriousness. Thus, in the mirroring of art and life, between gaze and gaze, the unfathomable mystery of transformation takes place. Musical Direction: Kent Nagano Production and stage: Dmitri Tcherniakov Costumes: Elena Zaytseva Light Design: Gleb Filshtinsky Dramaturgy: Angela Beuerle, Michael Sangkuhl, Tatiana Werestchagina

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

This season

In Hamburg

L'elisir d'amore

Sat, Dec 20, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Omer Meir Wellber (Musical Director), Alice Meregaglia (Chorus), Juliana Grigoryan (Adina), René Barbera (Nemorino), Nicholas Mogg (Belcore), Erwin Schrott (Dulcamara), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)

Tristano e Isotta – Tristan and Isolde set an example: Nemorino has the evident idea to boost the feelings of his beloved Adina with a love potion. The charlatan Dulcamara sees his chance for a good deal and sells a bottle of the pretended potion to the unhappy lover. And very soon Nemorino does become unusually popular with the young women in town. Will he be able to sweet-talk Adina as well? Or will she decide in favor of Nemorino’s rival Belcore? Ever since the audience has tasted Gaetano Donizetti‘s “Liebestrank” at the world premiere at Milan in 1832 for the first time, the piece is an indispensable part of the repertoire of opera stages around the world. In the short – and even for him - probably record time of several weeks, Donizetti succeeded in creating a milestone of comic opera. Despite its happy character the music allows deep insight into the protagonists’ inner life. Thus Donizetti created the most famous aria of this opera for Nemorino, who sees his chance to impress Adina, as a showpiece for tenors: “Una furtiva lagrima” is not a cheerful song but a melancholy romance. Production and stage design by: Jean-Pierre Ponnelle Costumes: Pet Halmen Premiere: 18.06.1977

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

This season

In Hamburg

L'elisir d'amore

Sat, Dec 27, 2025, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Tristano e Isotta – Tristan and Isolde set an example: Nemorino has the evident idea to boost the feelings of his beloved Adina with a love potion. The charlatan Dulcamara sees his chance for a good deal and sells a bottle of the pretended potion to the unhappy lover. And very soon Nemorino does become unusually popular with the young women in town. Will he be able to sweet-talk Adina as well? Or will she decide in favor of Nemorino’s rival Belcore? Ever since the audience has tasted Gaetano Donizetti‘s “Liebestrank” at the world premiere at Milan in 1832 for the first time, the piece is an indispensable part of the repertoire of opera stages around the world. In the short – and even for him - probably record time of several weeks, Donizetti succeeded in creating a milestone of comic opera. Despite its happy character the music allows deep insight into the protagonists’ inner life. Thus Donizetti created the most famous aria of this opera for Nemorino, who sees his chance to impress Adina, as a showpiece for tenors: “Una furtiva lagrima” is not a cheerful song but a melancholy romance. Production and stage design by: Jean-Pierre Ponnelle Costumes: Pet Halmen Premiere: 18.06.1977

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

This season

In Hamburg

L'elisir d'amore

Fri, Jan 2, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Tristano e Isotta – Tristan and Isolde set an example: Nemorino has the evident idea to boost the feelings of his beloved Adina with a love potion. The charlatan Dulcamara sees his chance for a good deal and sells a bottle of the pretended potion to the unhappy lover. And very soon Nemorino does become unusually popular with the young women in town. Will he be able to sweet-talk Adina as well? Or will she decide in favor of Nemorino’s rival Belcore? Ever since the audience has tasted Gaetano Donizetti‘s “Liebestrank” at the world premiere at Milan in 1832 for the first time, the piece is an indispensable part of the repertoire of opera stages around the world. In the short – and even for him - probably record time of several weeks, Donizetti succeeded in creating a milestone of comic opera. Despite its happy character the music allows deep insight into the protagonists’ inner life. Thus Donizetti created the most famous aria of this opera for Nemorino, who sees his chance to impress Adina, as a showpiece for tenors: “Una furtiva lagrima” is not a cheerful song but a melancholy romance. Production and stage design by: Jean-Pierre Ponnelle Costumes: Pet Halmen Premiere: 18.06.1977

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

L'elisir d'amore

Sat, Jan 10, 2026, 19:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Tristano e Isotta – Tristan and Isolde set an example: Nemorino has the evident idea to boost the feelings of his beloved Adina with a love potion. The charlatan Dulcamara sees his chance for a good deal and sells a bottle of the pretended potion to the unhappy lover. And very soon Nemorino does become unusually popular with the young women in town. Will he be able to sweet-talk Adina as well? Or will she decide in favor of Nemorino’s rival Belcore? Ever since the audience has tasted Gaetano Donizetti‘s “Liebestrank” at the world premiere at Milan in 1832 for the first time, the piece is an indispensable part of the repertoire of opera stages around the world. In the short – and even for him - probably record time of several weeks, Donizetti succeeded in creating a milestone of comic opera. Despite its happy character the music allows deep insight into the protagonists’ inner life. Thus Donizetti created the most famous aria of this opera for Nemorino, who sees his chance to impress Adina, as a showpiece for tenors: “Una furtiva lagrima” is not a cheerful song but a melancholy romance. Production and stage design by: Jean-Pierre Ponnelle Costumes: Pet Halmen Premiere: 18.06.1977

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

L'elisir d'amore

Sun, Jan 25, 2026, 15:00

Hamburgische Staatsoper, Großes Haus (Hamburg)

Keren Kagarlitsky (Musical Director), Alice Meregaglia (Chorus), Juliana Grigoryan (Adina), René Barbera (Nemorino), Nicholas Mogg (Belcore), Erwin Schrott (Dulcamara), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)

Tristano e Isotta – Tristan and Isolde set an example: Nemorino has the evident idea to boost the feelings of his beloved Adina with a love potion. The charlatan Dulcamara sees his chance for a good deal and sells a bottle of the pretended potion to the unhappy lover. And very soon Nemorino does become unusually popular with the young women in town. Will he be able to sweet-talk Adina as well? Or will she decide in favor of Nemorino’s rival Belcore? Ever since the audience has tasted Gaetano Donizetti‘s “Liebestrank” at the world premiere at Milan in 1832 for the first time, the piece is an indispensable part of the repertoire of opera stages around the world. In the short – and even for him - probably record time of several weeks, Donizetti succeeded in creating a milestone of comic opera. Despite its happy character the music allows deep insight into the protagonists’ inner life. Thus Donizetti created the most famous aria of this opera for Nemorino, who sees his chance to impress Adina, as a showpiece for tenors: “Una furtiva lagrima” is not a cheerful song but a melancholy romance. Production and stage design by: Jean-Pierre Ponnelle Costumes: Pet Halmen Premiere: 18.06.1977

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)

Classical concerts featuringNicholas Mogg

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Classical concerts featuring
Nicholas Mogg