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Classical concerts featuring
Peter Galliard

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February 23, 2025
Artistic depiction of the event

Mitridate, re di Ponto

Sun, Feb 23, 2025, 18:00
Birgit Kajtna-Wönig (Inszenierung), Adam Fischer (Musical Director), Marie-Luise Otto (Bühne), Marie-Luise Otto (Costume), Bernd Gallasch (Licht), Mara Wild (Video), Michael Sangkuhl (Dramaturgie), Robert Murray (Mitridate), Nikola Hillebrand (Aspasia), Olivia Boen (Sifare), Adriana Bignagni Lesca (Farnace), Kady Evanyshyn (Ismene), Seungwoo Simon Yang (Marzio), Peter Galliard (Arbate), Philharmonisches Staatsorchester Hamburg (Orchestra)
What happens when, in times of war and destruction, even your own family becomes a battlefield and mistrust, desire and betrayal break out? The cruel, ingenious and at the same time megalomaniac King of Pontus, Mitridate, fights a hopeless war against the Romans, while his two sons are under pressure from their father and his fiancée Aspasia decides against her duty and in favor of her feelings and turns away from him. With Mitridate, the 14-year-old Mozart composed his first full-length opera seria according to all the rules of the time and at the same time a work in which his humanistic flair already shines through. In the arias, he gives the ensemble of singers ample opportunity to explore the depths of the human soul and display their vocal virtuosity. Preserving the essence of this historical operatic genre, but at the same time reinterpreting its form, the aim is to create something in which the orchestra is integrated both visually and in terms of content. In this way, the fate of the characters can be experienced directly through visible music-making. Musical Direction: Adam Fischer Production: Birgit Kajtna-Wönig Stage and costumes: Marie-Luise Otto Lighting: Bernd Gallasch Video: Mara Wild Mara Wild Dramaturgy: Michael Sangkuhl Opera seria in three acts (1770) Text by Vittorio Amedeo Cigna-Santi after Jean Racine
February 25, 2025
Artistic depiction of the event

Eugene Onegin

Tue, Feb 25, 2025, 19:00
Ari Pelto (Musical Director), Christian Günther (Chorus), Katja Pieweck (Larina), Sally Matthews (Tatjana), Kristina Stanek (Olga), Carole Wilson (Filipjewna), Christoph Pohl (Eugen Onegin), Bogdan Volkov (Wladimir Lenski), Alexander Roslavets (Fürst Gremin), Keith Klein (Ein Hauptmann), William Desbiens (Saretzki), Peter Galliard (Triquet), Chorsolist (Vorsänger), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)
Young Tatyana falls in love with Eugene Onegin, and confesses her love for him, against all convention. When he pretends that marriage is not for him, she weds Prince Gremin in haste. After many years, Tatyana and Onegin meet again, but their belated confession of mutual love cannot bring them back together. Director: Adolf Dresen Set Design: Karl-Ernst Herrmann Costume Design: Margit Bárdy Choreography: Rolf Warter Premiere: 11.02.1979
February 27, 2025
Artistic depiction of the event

Mitridate, re di Ponto

Thu, Feb 27, 2025, 19:30
Birgit Kajtna-Wönig (Inszenierung), Adam Fischer (Musical Director), Marie-Luise Otto (Bühne), Marie-Luise Otto (Costume), Bernd Gallasch (Licht), Mara Wild (Video), Michael Sangkuhl (Dramaturgie), Robert Murray (Mitridate), Nikola Hillebrand (Aspasia), Olivia Boen (Sifare), Adriana Bignagni Lesca (Farnace), Kady Evanyshyn (Ismene), Seungwoo Simon Yang (Marzio), Peter Galliard (Arbate), Philharmonisches Staatsorchester Hamburg (Orchestra)
What happens when, in times of war and destruction, even your own family becomes a battlefield and mistrust, desire and betrayal break out? The cruel, ingenious and at the same time megalomaniac King of Pontus, Mitridate, fights a hopeless war against the Romans, while his two sons are under pressure from their father and his fiancée Aspasia decides against her duty and in favor of her feelings and turns away from him. With Mitridate, the 14-year-old Mozart composed his first full-length opera seria according to all the rules of the time and at the same time a work in which his humanistic flair already shines through. In the arias, he gives the ensemble of singers ample opportunity to explore the depths of the human soul and display their vocal virtuosity. Preserving the essence of this historical operatic genre, but at the same time reinterpreting its form, the aim is to create something in which the orchestra is integrated both visually and in terms of content. In this way, the fate of the characters can be experienced directly through visible music-making. Musical Direction: Adam Fischer Production: Birgit Kajtna-Wönig Stage and costumes: Marie-Luise Otto Lighting: Bernd Gallasch Video: Mara Wild Mara Wild Dramaturgy: Michael Sangkuhl Opera seria in three acts (1770) Text by Vittorio Amedeo Cigna-Santi after Jean Racine
February 28, 2025
Artistic depiction of the event

Eugene Onegin

Fri, Feb 28, 2025, 19:00
Ari Pelto (Musical Director), Christian Günther (Chorus), Katja Pieweck (Larina), Sally Matthews (Tatjana), Kristina Stanek (Olga), Carole Wilson (Filipjewna), Christoph Pohl (Eugen Onegin), Bogdan Volkov (Wladimir Lenski), Alexander Roslavets (Fürst Gremin), Keith Klein (Ein Hauptmann), William Desbiens (Saretzki), Peter Galliard (Triquet), Chorsolist (Vorsänger), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)
Young Tatyana falls in love with Eugene Onegin, and confesses her love for him, against all convention. When he pretends that marriage is not for him, she weds Prince Gremin in haste. After many years, Tatyana and Onegin meet again, but their belated confession of mutual love cannot bring them back together. Director: Adolf Dresen Set Design: Karl-Ernst Herrmann Costume Design: Margit Bárdy Choreography: Rolf Warter Premiere: 11.02.1979
March 2, 2025
Artistic depiction of the event

Mitridate, re di Ponto

Sun, Mar 2, 2025, 17:00
Birgit Kajtna-Wönig (Inszenierung), Adam Fischer (Musical Director), Marie-Luise Otto (Bühne), Marie-Luise Otto (Costume), Bernd Gallasch (Licht), Mara Wild (Video), Michael Sangkuhl (Dramaturgie), Robert Murray (Mitridate), Nikola Hillebrand (Aspasia), Olivia Boen (Sifare), Adriana Bignagni Lesca (Farnace), Kady Evanyshyn (Ismene), Seungwoo Simon Yang (Marzio), Peter Galliard (Arbate), Philharmonisches Staatsorchester Hamburg (Orchestra)
What happens when, in times of war and destruction, even your own family becomes a battlefield and mistrust, desire and betrayal break out? The cruel, ingenious and at the same time megalomaniac King of Pontus, Mitridate, fights a hopeless war against the Romans, while his two sons are under pressure from their father and his fiancée Aspasia decides against her duty and in favor of her feelings and turns away from him. With Mitridate, the 14-year-old Mozart composed his first full-length opera seria according to all the rules of the time and at the same time a work in which his humanistic flair already shines through. In the arias, he gives the ensemble of singers ample opportunity to explore the depths of the human soul and display their vocal virtuosity. Preserving the essence of this historical operatic genre, but at the same time reinterpreting its form, the aim is to create something in which the orchestra is integrated both visually and in terms of content. In this way, the fate of the characters can be experienced directly through visible music-making. Musical Direction: Adam Fischer Production: Birgit Kajtna-Wönig Stage and costumes: Marie-Luise Otto Lighting: Bernd Gallasch Video: Mara Wild Mara Wild Dramaturgy: Michael Sangkuhl Opera seria in three acts (1770) Text by Vittorio Amedeo Cigna-Santi after Jean Racine
March 6, 2025
Artistic depiction of the event

Eugene Onegin

Thu, Mar 6, 2025, 19:00
Ari Pelto (Musical Director), Christian Günther (Chorus), Katja Pieweck (Larina), Sally Matthews (Tatjana), Kristina Stanek (Olga), Carole Wilson (Filipjewna), Christoph Pohl (Eugen Onegin), Bogdan Volkov (Wladimir Lenski), Alexander Roslavets (Fürst Gremin), Keith Klein (Ein Hauptmann), William Desbiens (Saretzki), Peter Galliard (Triquet), Chorsolist (Vorsänger), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)
Young Tatyana falls in love with Eugene Onegin, and confesses her love for him, against all convention. When he pretends that marriage is not for him, she weds Prince Gremin in haste. After many years, Tatyana and Onegin meet again, but their belated confession of mutual love cannot bring them back together. Director: Adolf Dresen Set Design: Karl-Ernst Herrmann Costume Design: Margit Bárdy Choreography: Rolf Warter Premiere: 11.02.1979
March 7, 2025
Artistic depiction of the event

Mitridate, re di Ponto

Fri, Mar 7, 2025, 19:30
Birgit Kajtna-Wönig (Inszenierung), Adam Fischer (Musical Director), Marie-Luise Otto (Bühne), Marie-Luise Otto (Costume), Bernd Gallasch (Licht), Mara Wild (Video), Michael Sangkuhl (Dramaturgie), Robert Murray (Mitridate), Nikola Hillebrand (Aspasia), Olivia Boen (Sifare), Adriana Bignagni Lesca (Farnace), Kady Evanyshyn (Ismene), Seungwoo Simon Yang (Marzio), Peter Galliard (Arbate), Philharmonisches Staatsorchester Hamburg (Orchestra)
What happens when, in times of war and destruction, even your own family becomes a battlefield and mistrust, desire and betrayal break out? The cruel, ingenious and at the same time megalomaniac King of Pontus, Mitridate, fights a hopeless war against the Romans, while his two sons are under pressure from their father and his fiancée Aspasia decides against her duty and in favor of her feelings and turns away from him. With Mitridate, the 14-year-old Mozart composed his first full-length opera seria according to all the rules of the time and at the same time a work in which his humanistic flair already shines through. In the arias, he gives the ensemble of singers ample opportunity to explore the depths of the human soul and display their vocal virtuosity. Preserving the essence of this historical operatic genre, but at the same time reinterpreting its form, the aim is to create something in which the orchestra is integrated both visually and in terms of content. In this way, the fate of the characters can be experienced directly through visible music-making. Musical Direction: Adam Fischer Production: Birgit Kajtna-Wönig Stage and costumes: Marie-Luise Otto Lighting: Bernd Gallasch Video: Mara Wild Mara Wild Dramaturgy: Michael Sangkuhl Opera seria in three acts (1770) Text by Vittorio Amedeo Cigna-Santi after Jean Racine
March 9, 2025
Artistic depiction of the event

Eugene Onegin

Sun, Mar 9, 2025, 15:00
Ari Pelto (Musical Director), Christian Günther (Chorus), Katja Pieweck (Larina), Sally Matthews (Tatjana), Kristina Stanek (Olga), Carole Wilson (Filipjewna), Christoph Pohl (Eugen Onegin), Bogdan Volkov (Wladimir Lenski), Alexander Roslavets (Fürst Gremin), Keith Klein (Ein Hauptmann), William Desbiens (Saretzki), Peter Galliard (Triquet), Chorsolist (Vorsänger), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)
Young Tatyana falls in love with Eugene Onegin, and confesses her love for him, against all convention. When he pretends that marriage is not for him, she weds Prince Gremin in haste. After many years, Tatyana and Onegin meet again, but their belated confession of mutual love cannot bring them back together. Director: Adolf Dresen Set Design: Karl-Ernst Herrmann Costume Design: Margit Bárdy Choreography: Rolf Warter Premiere: 11.02.1979
April 8, 2025
Artistic depiction of the event

La Traviata

Tue, Apr 8, 2025, 19:30
Stefano Ranzani (Musical Director), Christian Günther (Chorleitung), Vera-Lotte Boecker (Violetta Valery), Ida Aldrian (Flora Bervoix), Renate Spingler (Annina), Oleksiy Palchykov (Alfredo Germont), Alexey Markov (Giorgio Germont), Peter Galliard (Gastone), Mateusz Ługowski (Il Barone Douphol), William Desbiens (Il Marchese d'Obigny), Keith Klein (Il Dottore Grenvil), Aaron Godfrey-Mayes (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
April 13, 2025
Artistic depiction of the event

La Traviata

Sun, Apr 13, 2025, 18:00
Stefano Ranzani (Musical Director), Christian Günther (Chorleitung), Vera-Lotte Boecker (Violetta Valery), Ida Aldrian (Flora Bervoix), Renate Spingler (Annina), Oleksiy Palchykov (Alfredo Germont), Alexey Markov (Giorgio Germont), Peter Galliard (Gastone), Mateusz Ługowski (Il Barone Douphol), William Desbiens (Il Marchese d'Obigny), Keith Klein (Il Dottore Grenvil), Aaron Godfrey-Mayes (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
April 16, 2025
Artistic depiction of the event

La Traviata

Wed, Apr 16, 2025, 19:30
Stefano Ranzani (Musical Director), Christian Günther (Chorleitung), Vera-Lotte Boecker (Violetta Valery), Ida Aldrian (Flora Bervoix), Renate Spingler (Annina), Oleksiy Palchykov (Alfredo Germont), Alexey Markov (Giorgio Germont), Peter Galliard (Gastone), Mateusz Ługowski (Il Barone Douphol), William Desbiens (Il Marchese d'Obigny), Keith Klein (Il Dottore Grenvil), Aaron Godfrey-Mayes (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
April 19, 2025
Artistic depiction of the event

La Traviata

Sat, Apr 19, 2025, 19:00
Stefano Ranzani (Musical Director), Christian Günther (Chorleitung), Vera-Lotte Boecker (Violetta Valery), Ida Aldrian (Flora Bervoix), Renate Spingler (Annina), Oleksiy Palchykov (Alfredo Germont), Alexey Markov (Giorgio Germont), Peter Galliard (Gastone), Mateusz Ługowski (Il Barone Douphol), William Desbiens (Il Marchese d'Obigny), Keith Klein (Il Dottore Grenvil), Aaron Godfrey-Mayes (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
May 22, 2025
Artistic depiction of the event

Tosca

Thu, May 22, 2025, 19:30
Nicola Luisotti (Musical Director), Christian Günther (Chorleitung), Maria Agresta (Floria Tosca), Michael Fabiano (Mario Cavaradossi), Gabriele Viviani (Baron Scarpia), Chao Deng (Cesare Angelotti), Tigran Martirossian (Sagrestano), Peter Galliard (Spoletta), Grzegorz Pelutis (Sciarrone), Chorsolist (Un Carceriere), Solist des Hamburger Knabenchores (Un Pastore), Alsterspatzen – Kinder- und Jugendchor der Hamburgischen Staatsoper (Childrens’ choir), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)
Scarpia, Rome’s chief of police, desires Tosca. Since her lover, the painter Cavaradossi, is among the government’s political enemies, Scarpia has him imprisoned. He orders Cavaradossi’s execution and hopes to force Tosca into granting him one night with her, in exchange for Cavaradossi’s release. She, however, thwarts his plans… Director: Robert Carsen Set and Costume Designer: Anthony Ward Lighting Designer: Davy Cunningham Premiere: 15.10.2000
May 25, 2025
Artistic depiction of the event

Tosca

Sun, May 25, 2025, 18:00
Nicola Luisotti (Musical Director), Christian Günther (Chorleitung), Maria Agresta (Floria Tosca), Michael Fabiano (Mario Cavaradossi), Gabriele Viviani (Baron Scarpia), Chao Deng (Cesare Angelotti), Tigran Martirossian (Sagrestano), Peter Galliard (Spoletta), Grzegorz Pelutis (Sciarrone), Chorsolist (Un Carceriere), Solist des Hamburger Knabenchores (Un Pastore), Alsterspatzen – Kinder- und Jugendchor der Hamburgischen Staatsoper (Childrens’ choir), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)
Scarpia, Rome’s chief of police, desires Tosca. Since her lover, the painter Cavaradossi, is among the government’s political enemies, Scarpia has him imprisoned. He orders Cavaradossi’s execution and hopes to force Tosca into granting him one night with her, in exchange for Cavaradossi’s release. She, however, thwarts his plans… Director: Robert Carsen Set and Costume Designer: Anthony Ward Lighting Designer: Davy Cunningham Premiere: 15.10.2000
May 28, 2025
Artistic depiction of the event

Tosca

Wed, May 28, 2025, 19:30
Nicola Luisotti (Musical Director), Christian Günther (Chorleitung), Maria Agresta (Floria Tosca), Michael Fabiano (Mario Cavaradossi), Gabriele Viviani (Baron Scarpia), Chao Deng (Cesare Angelotti), Tigran Martirossian (Sagrestano), Peter Galliard (Spoletta), Grzegorz Pelutis (Sciarrone), Chorsolist (Un Carceriere), Solist des Hamburger Knabenchores (Un Pastore), Alsterspatzen – Kinder- und Jugendchor der Hamburgischen Staatsoper (Childrens’ choir), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)
Scarpia, Rome’s chief of police, desires Tosca. Since her lover, the painter Cavaradossi, is among the government’s political enemies, Scarpia has him imprisoned. He orders Cavaradossi’s execution and hopes to force Tosca into granting him one night with her, in exchange for Cavaradossi’s release. She, however, thwarts his plans… Director: Robert Carsen Set and Costume Designer: Anthony Ward Lighting Designer: Davy Cunningham Premiere: 15.10.2000
June 21, 2025
Artistic depiction of the event

Mitridate, re di Ponto

Sat, Jun 21, 2025, 19:30
Birgit Kajtna-Wönig (Inszenierung), N. N. (Musical Director), Marie-Luise Otto (Bühne), Marie-Luise Otto (Costume), Bernd Gallasch (Licht), Mara Wild (Video), Michael Sangkuhl (Dramaturgie), Anthony Gregory (Mitridate), Nikola Hillebrand (Aspasia), Olivia Boen (Sifare), Adriana Bignagni Lesca (Farnace), Kady Evanyshyn (Ismene), Seungwoo Simon Yang (Marzio), Peter Galliard (Arbate), Philharmonisches Staatsorchester Hamburg (Orchestra)
What happens when, in times of war and destruction, even your own family becomes a battlefield and mistrust, desire and betrayal break out? The cruel, ingenious and at the same time megalomaniac King of Pontus, Mitridate, fights a hopeless war against the Romans, while his two sons are under pressure from their father and his fiancée Aspasia decides against her duty and in favor of her feelings and turns away from him. With Mitridate, the 14-year-old Mozart composed his first full-length opera seria according to all the rules of the time and at the same time a work in which his humanistic flair already shines through. In the arias, he gives the ensemble of singers ample opportunity to explore the depths of the human soul and display their vocal virtuosity. Preserving the essence of this historical operatic genre, but at the same time reinterpreting its form, the aim is to create something in which the orchestra is integrated both visually and in terms of content. In this way, the fate of the characters can be experienced directly through visible music-making. Musical Direction: Adam Fischer Production: Birgit Kajtna-Wönig Stage and costumes: Marie-Luise Otto Lighting: Bernd Gallasch Video: Mara Wild Mara Wild Dramaturgy: Michael Sangkuhl Opera seria in three acts (1770) Text by Vittorio Amedeo Cigna-Santi after Jean Racine
June 26, 2025
Artistic depiction of the event

Mitridate, re di Ponto

Thu, Jun 26, 2025, 19:30
Birgit Kajtna-Wönig (Inszenierung), N. N. (Musical Director), Marie-Luise Otto (Bühne), Marie-Luise Otto (Costume), Bernd Gallasch (Licht), Mara Wild (Video), Michael Sangkuhl (Dramaturgie), Anthony Gregory (Mitridate), Nikola Hillebrand (Aspasia), Olivia Boen (Sifare), Adriana Bignagni Lesca (Farnace), Kady Evanyshyn (Ismene), Seungwoo Simon Yang (Marzio), Peter Galliard (Arbate), Philharmonisches Staatsorchester Hamburg (Orchestra)
What happens when, in times of war and destruction, even your own family becomes a battlefield and mistrust, desire and betrayal break out? The cruel, ingenious and at the same time megalomaniac King of Pontus, Mitridate, fights a hopeless war against the Romans, while his two sons are under pressure from their father and his fiancée Aspasia decides against her duty and in favor of her feelings and turns away from him. With Mitridate, the 14-year-old Mozart composed his first full-length opera seria according to all the rules of the time and at the same time a work in which his humanistic flair already shines through. In the arias, he gives the ensemble of singers ample opportunity to explore the depths of the human soul and display their vocal virtuosity. Preserving the essence of this historical operatic genre, but at the same time reinterpreting its form, the aim is to create something in which the orchestra is integrated both visually and in terms of content. In this way, the fate of the characters can be experienced directly through visible music-making. Musical Direction: Adam Fischer Production: Birgit Kajtna-Wönig Stage and costumes: Marie-Luise Otto Lighting: Bernd Gallasch Video: Mara Wild Mara Wild Dramaturgy: Michael Sangkuhl Opera seria in three acts (1770) Text by Vittorio Amedeo Cigna-Santi after Jean Racine
June 27, 2025
Artistic depiction of the event

Le Nozze di Figaro

Fri, Jun 27, 2025, 19:00
Nicholas Carter (Musical Director), Kartal Karagedik (Il Conte d'Almaviva), Olga Peretyatko (La Contessa d'Almaviva), Katharina Konradi (Susanna), Chao Deng (Figaro), Julia Lezhneva (Cherubino), Claire Gascoin (Marcellina), Peter Galliard (Don Basilio), Jürgen Sacher (Don Curzio), Tigran Martirossian (Don Bartolo), Keith Klein (Antonio), Marie Maidowski (Barbarina), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)
During times of historical upheaval, the victors are filled with euphoric jubilation while fear spreads on the side of the losers. When cheerfulness grips the figures in Mozart’s piece, it is the swan song, full of schadenfreude, of dying structures, ancient privileges and traditional manners – including those between man and woman. Mozart (and Beaumarchais) hold the balance on the threshold between eras – as artists en route to self-marketing, as portraitists of their times, by precisely rendering a society whose balance is shifting, making Almaviva a ridiculous figure. His class is losing political power, and he compensates for this loss by becoming a slave to his sexual desire. The wind is blowing from the past, giving wing to Walter Benjamin’s angel of history. It is a storm for the winners, and for the losers a mere melancholy breeze. The angel sees nothing but ruins. Director: Stefan Herheim Set Designer: Christof Hetzer Costume Designer: Gesine Völlm Lighting Designer: Phoenix (Andreas Hofer) Video: fettFilm Dramaturgy: Alexander Meier-Dörzenbach Premiere: 15.11.2015
June 29, 2025
Artistic depiction of the event

Le Nozze di Figaro

Sun, Jun 29, 2025, 18:00
Nicholas Carter (Musical Director), Kartal Karagedik (Il Conte d'Almaviva), Olga Peretyatko (La Contessa d'Almaviva), Katharina Konradi (Susanna), Chao Deng (Figaro), Julia Lezhneva (Cherubino), Claire Gascoin (Marcellina), Peter Galliard (Don Basilio), Jürgen Sacher (Don Curzio), Tigran Martirossian (Don Bartolo), Keith Klein (Antonio), Marie Maidowski (Barbarina), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)
During times of historical upheaval, the victors are filled with euphoric jubilation while fear spreads on the side of the losers. When cheerfulness grips the figures in Mozart’s piece, it is the swan song, full of schadenfreude, of dying structures, ancient privileges and traditional manners – including those between man and woman. Mozart (and Beaumarchais) hold the balance on the threshold between eras – as artists en route to self-marketing, as portraitists of their times, by precisely rendering a society whose balance is shifting, making Almaviva a ridiculous figure. His class is losing political power, and he compensates for this loss by becoming a slave to his sexual desire. The wind is blowing from the past, giving wing to Walter Benjamin’s angel of history. It is a storm for the winners, and for the losers a mere melancholy breeze. The angel sees nothing but ruins. Director: Stefan Herheim Set Designer: Christof Hetzer Costume Designer: Gesine Völlm Lighting Designer: Phoenix (Andreas Hofer) Video: fettFilm Dramaturgy: Alexander Meier-Dörzenbach Premiere: 15.11.2015
July 3, 2025
Artistic depiction of the event

Le Nozze di Figaro

Thu, Jul 3, 2025, 19:00
Nicholas Carter (Musical Director), Kartal Karagedik (Il Conte d'Almaviva), Olga Peretyatko (La Contessa d'Almaviva), Katharina Konradi (Susanna), Chao Deng (Figaro), Julia Lezhneva (Cherubino), Claire Gascoin (Marcellina), Peter Galliard (Don Basilio), Jürgen Sacher (Don Curzio), Tigran Martirossian (Don Bartolo), Keith Klein (Antonio), Marie Maidowski (Barbarina), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)
During times of historical upheaval, the victors are filled with euphoric jubilation while fear spreads on the side of the losers. When cheerfulness grips the figures in Mozart’s piece, it is the swan song, full of schadenfreude, of dying structures, ancient privileges and traditional manners – including those between man and woman. Mozart (and Beaumarchais) hold the balance on the threshold between eras – as artists en route to self-marketing, as portraitists of their times, by precisely rendering a society whose balance is shifting, making Almaviva a ridiculous figure. His class is losing political power, and he compensates for this loss by becoming a slave to his sexual desire. The wind is blowing from the past, giving wing to Walter Benjamin’s angel of history. It is a storm for the winners, and for the losers a mere melancholy breeze. The angel sees nothing but ruins. Director: Stefan Herheim Set Designer: Christof Hetzer Costume Designer: Gesine Völlm Lighting Designer: Phoenix (Andreas Hofer) Video: fettFilm Dramaturgy: Alexander Meier-Dörzenbach Premiere: 15.11.2015