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Classical Concerts at
Hamburgische Staatsoper

Overview

Quick overview of Hamburgische Staatsoper by associated keywords

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These concerts at Hamburgische Staatsoper became visible lately at Concert Pulse.

Artistic depiction of the event
This season
In Hamburg

The Seagull

Sun, Sep 21, 2025, 18:00
Hamburg Ballett (Ensemble), Nathan Brock (Conductor), Philharmonisches Staatsorchester Hamburg (Orchestra)
On a secluded country estate, people from multiple generations come together, each bringing different views on life and art. Many of them are artists or aspire to be artists, yet none of them are happy. The free-spirited life, detached from conventions, exists only as a symbol, embodied by a seagull that is shot without reason by one of the main characters. In his adaptation of Anton Chekhov's "The Seagull", John Neumeier shifts the action from the world of literature to the world of dance. Instead of literary discussions, the characters express themselves through various dance styles. The young Kostja, searching for new forms of expression, uses the language of expressionist modern dance. His mother Arkadina looks back on an outstanding career as a prima ballerina and represents classical ballet. Nina, on the other hand, dreams of a great theater career, but her relationship with the successful choreographer Trigorin quickly falls apart, and in Moscow, she only manages to secure a job as a revue dancer. Despite these setbacks, Nina gains strength; through her own decisions, she escapes the emptiness of the provincial life she came from. Neumeier focuses on the central conflict of the piece: the tension between art and love. The characters seek comfort in each other, but love offers no escape: it remains either mere convention or pure illusion. Chekhov’s "The Seagull" is rich in multi-layered dialogues and psychologically complex characters. Neumeier takes up this panorama and, through different forms of expression in his ballet, makes visible what often remains only implied in the drama. On the 50th anniversary of of Dmitri Shostakovich's 50th death, this poignant ballet returns to the Hamburg Ballet repertoire. Music: Dmitri Shostakovich, Evelyn Glennie, Peter I. Tchaikovsky, Alexander Scriabin Choreography, Set and Costumes: John Neumeier 2 hours 30 minutes | 1 intermission Part 1: 60 minutes, Part 2: 60 minutes PREMIERE: The Hamburg Ballet, Hamburg, June 16, 2002 ORIGINAL CAST: Irina Nikolayevna Arkadina: Anna Polikarpova Konstantin (Kostya) Gavrilovich Triplev: Ivan Urban (for Jirí Bubenícek) Piotr Nikolayevich Sorin: Lloyd Riggins Boris Alexeyivich Trigorin: Otto Bubenícek Nina Mikhailovna Zarechnaya: Heather Jurgensen Yevgeny Sergeyivich Dorn:Sébastien Thill Semyon Semyonovich Medvedenko: Peter Dingle Ilya Afanasevich Shamrajev: Yaroslav Ivanenko Polina Andreyevna: Niurka Moredo Masha: Joëlle Boulogne ON TOUR: 2018 Vienna IN THE REPERTORY: Finnish National Ballet Stanislavsky and Nemirovich-Danchenko Music Theatre The National Ballet of Canada
Artistic depiction of the event
This season
In Hamburg

The Seagull

Mon, Sep 22, 2025, 19:30
Hamburg Ballett (Ensemble), Nathan Brock (Conductor), Philharmonisches Staatsorchester Hamburg (Orchestra)
On a secluded country estate, people from multiple generations come together, each bringing different views on life and art. Many of them are artists or aspire to be artists, yet none of them are happy. The free-spirited life, detached from conventions, exists only as a symbol, embodied by a seagull that is shot without reason by one of the main characters. In his adaptation of Anton Chekhov's "The Seagull", John Neumeier shifts the action from the world of literature to the world of dance. Instead of literary discussions, the characters express themselves through various dance styles. The young Kostja, searching for new forms of expression, uses the language of expressionist modern dance. His mother Arkadina looks back on an outstanding career as a prima ballerina and represents classical ballet. Nina, on the other hand, dreams of a great theater career, but her relationship with the successful choreographer Trigorin quickly falls apart, and in Moscow, she only manages to secure a job as a revue dancer. Despite these setbacks, Nina gains strength; through her own decisions, she escapes the emptiness of the provincial life she came from. Neumeier focuses on the central conflict of the piece: the tension between art and love. The characters seek comfort in each other, but love offers no escape: it remains either mere convention or pure illusion. Chekhov’s "The Seagull" is rich in multi-layered dialogues and psychologically complex characters. Neumeier takes up this panorama and, through different forms of expression in his ballet, makes visible what often remains only implied in the drama. On the 50th anniversary of of Dmitri Shostakovich's 50th death, this poignant ballet returns to the Hamburg Ballet repertoire. Music: Dmitri Shostakovich, Evelyn Glennie, Peter I. Tchaikovsky, Alexander Scriabin Choreography, Set and Costumes: John Neumeier 2 hours 30 minutes | 1 intermission Part 1: 60 minutes, Part 2: 60 minutes PREMIERE: The Hamburg Ballet, Hamburg, June 16, 2002 ORIGINAL CAST: Irina Nikolayevna Arkadina: Anna Polikarpova Konstantin (Kostya) Gavrilovich Triplev: Ivan Urban (for Jirí Bubenícek) Piotr Nikolayevich Sorin: Lloyd Riggins Boris Alexeyivich Trigorin: Otto Bubenícek Nina Mikhailovna Zarechnaya: Heather Jurgensen Yevgeny Sergeyivich Dorn:Sébastien Thill Semyon Semyonovich Medvedenko: Peter Dingle Ilya Afanasevich Shamrajev: Yaroslav Ivanenko Polina Andreyevna: Niurka Moredo Masha: Joëlle Boulogne ON TOUR: 2018 Vienna IN THE REPERTORY: Finnish National Ballet Stanislavsky and Nemirovich-Danchenko Music Theatre The National Ballet of Canada
Artistic depiction of the event
This season
In Hamburg

The Seagull

Thu, Sep 25, 2025, 19:30
Hamburg Ballett (Ensemble), Nathan Brock (Conductor), Philharmonisches Staatsorchester Hamburg (Orchestra)
On a secluded country estate, people from multiple generations come together, each bringing different views on life and art. Many of them are artists or aspire to be artists, yet none of them are happy. The free-spirited life, detached from conventions, exists only as a symbol, embodied by a seagull that is shot without reason by one of the main characters. In his adaptation of Anton Chekhov's "The Seagull", John Neumeier shifts the action from the world of literature to the world of dance. Instead of literary discussions, the characters express themselves through various dance styles. The young Kostja, searching for new forms of expression, uses the language of expressionist modern dance. His mother Arkadina looks back on an outstanding career as a prima ballerina and represents classical ballet. Nina, on the other hand, dreams of a great theater career, but her relationship with the successful choreographer Trigorin quickly falls apart, and in Moscow, she only manages to secure a job as a revue dancer. Despite these setbacks, Nina gains strength; through her own decisions, she escapes the emptiness of the provincial life she came from. Neumeier focuses on the central conflict of the piece: the tension between art and love. The characters seek comfort in each other, but love offers no escape: it remains either mere convention or pure illusion. Chekhov’s "The Seagull" is rich in multi-layered dialogues and psychologically complex characters. Neumeier takes up this panorama and, through different forms of expression in his ballet, makes visible what often remains only implied in the drama. On the 50th anniversary of of Dmitri Shostakovich's 50th death, this poignant ballet returns to the Hamburg Ballet repertoire. Music: Dmitri Shostakovich, Evelyn Glennie, Peter I. Tchaikovsky, Alexander Scriabin Choreography, Set and Costumes: John Neumeier 2 hours 30 minutes | 1 intermission Part 1: 60 minutes, Part 2: 60 minutes PREMIERE: The Hamburg Ballet, Hamburg, June 16, 2002 ORIGINAL CAST: Irina Nikolayevna Arkadina: Anna Polikarpova Konstantin (Kostya) Gavrilovich Triplev: Ivan Urban (for Jirí Bubenícek) Piotr Nikolayevich Sorin: Lloyd Riggins Boris Alexeyivich Trigorin: Otto Bubenícek Nina Mikhailovna Zarechnaya: Heather Jurgensen Yevgeny Sergeyivich Dorn:Sébastien Thill Semyon Semyonovich Medvedenko: Peter Dingle Ilya Afanasevich Shamrajev: Yaroslav Ivanenko Polina Andreyevna: Niurka Moredo Masha: Joëlle Boulogne ON TOUR: 2018 Vienna IN THE REPERTORY: Finnish National Ballet Stanislavsky and Nemirovich-Danchenko Music Theatre The National Ballet of Canada

Upcoming Concerts

Concerts at Hamburgische Staatsoper in season 2024/25 or later

Artistic depiction of the event
In a few days
In Hamburg

Don Pasquale

Fri, Mar 14, 2025, 19:30
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
Artistic depiction of the event
This week
In Hamburg

Rigoletto

Sat, Mar 15, 2025, 19:30
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
Artistic depiction of the event
Next week
In Hamburg

Maria Stuarda

Sun, Mar 16, 2025, 18:00
Karin Beier (Inszenierung), Antonino Fogliani (Musical Director), Amber Vandenhoeck (Bühnenbild), Eva Dessecker (Costume), Annette ter Meulen (Licht), Severin Renke (Video), Rita Thiele (Dramaturgie), Eberhard Friedrich (Chorleitung), Barno Ismatullaeva (Elisabetta), Ermonela Jaho (Maria Stuarda), Aebh Kelly (Anna), Long Long (Roberto), Alexander Roslavets (Talbot), Gezim Myshketa (Cecil), Katja Danowski (Double Elisabetta), Sandra Gerling (Double Maria Stuarda), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)
Maria and Elisabetta: two queens fight for power and love. Between them stands Count Leicester, Elisabetta's lover, who is attracted to Maria. The two women meet in the park of Fotheringhay Castle - a duel of emotions, fought with the weapons of bel canto, coloratura on a knife's edge. In the end, the Catholic Maria will ascend the scaffold with her head held high, while the Protestant Elisabetta will keep her throne but lose her love. Musical Direction: Antonino Fogliani Production: Karin Beier Stage: Amber Vandenhoeck Costumes: Eva Dessecker Lighting: Annette ter Meulen Lighting Dramaturgy: Rita Thiele
Artistic depiction of the event
Next week
In Hamburg

Rigoletto

Tue, Mar 18, 2025, 19:30
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
Artistic depiction of the event
Next week
In Hamburg

Maria Stuarda

Wed, Mar 19, 2025, 19:00
Karin Beier (Inszenierung), Antonino Fogliani (Musical Director), Amber Vandenhoeck (Bühnenbild), Eva Dessecker (Costume), Annette ter Meulen (Licht), Severin Renke (Video), Rita Thiele (Dramaturgie), Eberhard Friedrich (Chorleitung), Barno Ismatullaeva (Elisabetta), Ermonela Jaho (Maria Stuarda), Aebh Kelly (Anna), Long Long (Roberto), Alexander Roslavets (Talbot), Gezim Myshketa (Cecil), Katja Danowski (Double Elisabetta), Sandra Gerling (Double Maria Stuarda), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)
Maria and Elisabetta: two queens fight for power and love. Between them stands Count Leicester, Elisabetta's lover, who is attracted to Maria. The two women meet in the park of Fotheringhay Castle - a duel of emotions, fought with the weapons of bel canto, coloratura on a knife's edge. In the end, the Catholic Maria will ascend the scaffold with her head held high, while the Protestant Elisabetta will keep her throne but lose her love. Musical Direction: Antonino Fogliani Production: Karin Beier Stage: Amber Vandenhoeck Costumes: Eva Dessecker Lighting: Annette ter Meulen Lighting Dramaturgy: Rita Thiele
Artistic depiction of the event
Next week
In Hamburg

Rigoletto

Thu, Mar 20, 2025, 19:30
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
Artistic depiction of the event
Next week
In Hamburg

La Fanciulla del West (The Girl of the West)

Fri, Mar 21, 2025, 19:30
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
Artistic depiction of the event
Next week
In Hamburg

Maria Stuarda

Sat, Mar 22, 2025, 19:00
Karin Beier (Inszenierung), Antonino Fogliani (Musical Director), Amber Vandenhoeck (Bühnenbild), Eva Dessecker (Costume), Annette ter Meulen (Licht), Severin Renke (Video), Rita Thiele (Dramaturgie), Eberhard Friedrich (Chorleitung), Barno Ismatullaeva (Elisabetta), Ermonela Jaho (Maria Stuarda), Aebh Kelly (Anna), Long Long (Roberto), Alexander Roslavets (Talbot), Gezim Myshketa (Cecil), Katja Danowski (Double Elisabetta), Sandra Gerling (Double Maria Stuarda), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)
Maria and Elisabetta: two queens fight for power and love. Between them stands Count Leicester, Elisabetta's lover, who is attracted to Maria. The two women meet in the park of Fotheringhay Castle - a duel of emotions, fought with the weapons of bel canto, coloratura on a knife's edge. In the end, the Catholic Maria will ascend the scaffold with her head held high, while the Protestant Elisabetta will keep her throne but lose her love. Musical Direction: Antonino Fogliani Production: Karin Beier Stage: Amber Vandenhoeck Costumes: Eva Dessecker Lighting: Annette ter Meulen Lighting Dramaturgy: Rita Thiele
Artistic depiction of the event
This month
In Hamburg

Rigoletto

Sun, Mar 23, 2025, 15:00
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
Artistic depiction of the event
This month
In Hamburg

Maria Stuarda

Tue, Mar 25, 2025, 19:00
Karin Beier (Inszenierung), Antonino Fogliani (Musical Director), Amber Vandenhoeck (Bühnenbild), Eva Dessecker (Costume), Annette ter Meulen (Licht), Severin Renke (Video), Rita Thiele (Dramaturgie), Eberhard Friedrich (Chorleitung), Barno Ismatullaeva (Elisabetta), Ermonela Jaho (Maria Stuarda), Aebh Kelly (Anna), Long Long (Roberto), Alexander Roslavets (Talbot), Gezim Myshketa (Cecil), Katja Danowski (Double Elisabetta), Sandra Gerling (Double Maria Stuarda), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)
Maria and Elisabetta: two queens fight for power and love. Between them stands Count Leicester, Elisabetta's lover, who is attracted to Maria. The two women meet in the park of Fotheringhay Castle - a duel of emotions, fought with the weapons of bel canto, coloratura on a knife's edge. In the end, the Catholic Maria will ascend the scaffold with her head held high, while the Protestant Elisabetta will keep her throne but lose her love. Musical Direction: Antonino Fogliani Production: Karin Beier Stage: Amber Vandenhoeck Costumes: Eva Dessecker Lighting: Annette ter Meulen Lighting Dramaturgy: Rita Thiele
Artistic depiction of the event
This month
In Hamburg

La Fanciulla del West (The Girl of the West)

Wed, Mar 26, 2025, 19:30
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
Artistic depiction of the event
This month
In Hamburg

Il trovatore

Thu, Mar 27, 2025, 19:30
Paolo Arrivabeni (Musical Director), Christian Günther (Chorleitung), George Petean (Luna), Marco Berti (Manrico), Olga Peretyatko (Leonora), Kristina Stanek (Azucena), Hubert Kowalczyk (Ferrando), Marie Maidowski (Inez), Aaron Godfrey-Mayes (Ruiz), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)
For Leonora, the song of the troubadour Manrico holds the promise and glow of love; Manrico's rival Count Luna perceives in it threat and danger. Verdi's opera is a celebration of Italian opera singing at its best - so it is no coincidence that the title character is a singer himself. And yet for the composer, Azucena, Manrico's mother, was the real protagonist. Il trovatore is rich in dramatic intricacies and intense emotions, which Verdi abruptly juxtaposes in images and scenes. Tragedy relentlessly unfolds before our eyes and ears until the truth is revealed in the opera's final seconds. Stage: Alex Eales Costumes: Herbert Murauer Lighting: James Farncombe Video: Philipp Contag-Lada Dramaturgy: Ralf Waldschmidt Chorus: Christian Günther
Artistic depiction of the event
This month
In Hamburg

Maria Stuarda

Fri, Mar 28, 2025, 19:00
Karin Beier (Inszenierung), Antonino Fogliani (Musical Director), Amber Vandenhoeck (Bühnenbild), Eva Dessecker (Costume), Annette ter Meulen (Licht), Severin Renke (Video), Rita Thiele (Dramaturgie), Eberhard Friedrich (Chorleitung), Barno Ismatullaeva (Elisabetta), Ermonela Jaho (Maria Stuarda), Aebh Kelly (Anna), Long Long (Roberto), Alexander Roslavets (Talbot), Gezim Myshketa (Cecil), Katja Danowski (Double Elisabetta), Sandra Gerling (Double Maria Stuarda), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)
Maria and Elisabetta: two queens fight for power and love. Between them stands Count Leicester, Elisabetta's lover, who is attracted to Maria. The two women meet in the park of Fotheringhay Castle - a duel of emotions, fought with the weapons of bel canto, coloratura on a knife's edge. In the end, the Catholic Maria will ascend the scaffold with her head held high, while the Protestant Elisabetta will keep her throne but lose her love. Musical Direction: Antonino Fogliani Production: Karin Beier Stage: Amber Vandenhoeck Costumes: Eva Dessecker Lighting: Annette ter Meulen Lighting Dramaturgy: Rita Thiele
Artistic depiction of the event
This month
In Hamburg

La Fanciulla del West (The Girl of the West)

Sat, Mar 29, 2025, 19:30
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
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This month
In Hamburg

Maria Stuarda

Sun, Mar 30, 2025, 17:00
Karin Beier (Inszenierung), Antonino Fogliani (Musical Director), Amber Vandenhoeck (Bühnenbild), Eva Dessecker (Costume), Annette ter Meulen (Licht), Rita Thiele (Dramaturgie), Eberhard Friedrich (Chorleitung), Barno Ismatullaeva (Elisabetta), Ermonela Jaho (Maria Stuarda), Aebh Kelly (Anna), Long Long (Roberto), Alexander Roslavets (Talbot), Gezim Myshketa (Cecil), Katja Danowski (Double Elisabetta), Sandra Gerling (Double Maria Stuarda), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)
Maria and Elisabetta: two queens fight for power and love. Between them stands Count Leicester, Elisabetta's lover, who is attracted to Maria. The two women meet in the park of Fotheringhay Castle - a duel of emotions, fought with the weapons of bel canto, coloratura on a knife's edge. In the end, the Catholic Maria will ascend the scaffold with her head held high, while the Protestant Elisabetta will keep her throne but lose her love. Musical Direction: Antonino Fogliani Production: Karin Beier Stage: Amber Vandenhoeck Costumes: Eva Dessecker Lighting: Annette ter Meulen Lighting Dramaturgy: Rita Thiele
Artistic depiction of the event
Next month
In Hamburg

Il trovatore

Tue, Apr 1, 2025, 19:30
Paolo Arrivabeni (Musical Director), Christian Günther (Chorleitung), George Petean (Luna), Marco Berti (Manrico), Olga Peretyatko (Leonora), Kristina Stanek (Azucena), Hubert Kowalczyk (Ferrando), Marie Maidowski (Inez), Aaron Godfrey-Mayes (Ruiz), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)
For Leonora, the song of the troubadour Manrico holds the promise and glow of love; Manrico's rival Count Luna perceives in it threat and danger. Verdi's opera is a celebration of Italian opera singing at its best - so it is no coincidence that the title character is a singer himself. And yet for the composer, Azucena, Manrico's mother, was the real protagonist. Il trovatore is rich in dramatic intricacies and intense emotions, which Verdi abruptly juxtaposes in images and scenes. Tragedy relentlessly unfolds before our eyes and ears until the truth is revealed in the opera's final seconds. Stage: Alex Eales Costumes: Herbert Murauer Lighting: James Farncombe Video: Philipp Contag-Lada Dramaturgy: Ralf Waldschmidt Chorus: Christian Günther
Artistic depiction of the event
Next month
In Hamburg

Maria Stuarda

Wed, Apr 2, 2025, 19:00
Karin Beier (Inszenierung), Antonino Fogliani (Musical Director), Amber Vandenhoeck (Bühnenbild), Eva Dessecker (Costume), Annette ter Meulen (Licht), Severin Renke (Video), Rita Thiele (Dramaturgie), Eberhard Friedrich (Chorleitung), Barno Ismatullaeva (Elisabetta), Ermonela Jaho (Maria Stuarda), Aebh Kelly (Anna), Long Long (Roberto), Alexander Roslavets (Talbot), Gezim Myshketa (Cecil), Katja Danowski (Double Elisabetta), Sandra Gerling (Double Maria Stuarda), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)
Maria and Elisabetta: two queens fight for power and love. Between them stands Count Leicester, Elisabetta's lover, who is attracted to Maria. The two women meet in the park of Fotheringhay Castle - a duel of emotions, fought with the weapons of bel canto, coloratura on a knife's edge. In the end, the Catholic Maria will ascend the scaffold with her head held high, while the Protestant Elisabetta will keep her throne but lose her love. Musical Direction: Antonino Fogliani Production: Karin Beier Stage: Amber Vandenhoeck Costumes: Eva Dessecker Lighting: Annette ter Meulen Lighting Dramaturgy: Rita Thiele
Artistic depiction of the event
Next month
In Hamburg

Falstaff

Thu, Apr 3, 2025, 19:30
Finnegan Downie Dear (Musical Director), Christian Günther (Chorleitung), Christopher Purves (Falstaff), Simon Keenlyside (Ford), Seungwoo Simon Yang (Fenton), Jürgen Sacher (Dr. Cajus), Daniel Kluge (Bardolfo), Tigran Martirossian (Pistola), Danielle de Niese (Alice Ford), Olivia Warburton (Nannetta), Anna Kissjudit (Mrs. Quickly), Kady Evanyshyn (Meg Page), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)
Sir John Falstaff is an anarchist who obeys only the reign of his own enjoyment, an egoist who feeds only his power-hunger and his own flesh, and who would prefer to raze the small-minded morals of his contemporaries like the walls of a fortress – by seducing two women at the same time. Needless to say, his plan is thwarted, but those trying to expose him also fail to emerge unruffled from the confusion they unleash around him – which only the audience can keep track of, barely. “Tutto nel mondo è burla,” but these jokes are only funny because falling into the abyss actually does pose quite a serious risk. Arrigo Boito, the librettist of “Otello”, distilled a sophisticated, ingenious libretto from Shakespeare’s original, driving Verdi to highly complex compositional heights. Director: Calixto Bieito Set Designer: Susanne Gschwender Costume Designer: Anja Rabes Dramaturgy: Bettina Auer Lighting Designer: Michael Bauer Premiere: January 19th 2020
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Next month
In Hamburg

La Fanciulla del West (The Girl of the West)

Fri, Apr 4, 2025, 19:30
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
Artistic depiction of the event
Next month
In Hamburg

Il trovatore

Sat, Apr 5, 2025, 19:00
Paolo Arrivabeni (Musical Director), Christian Günther (Chorleitung), George Petean (Luna), Marco Berti (Manrico), Olga Peretyatko (Leonora), Kristina Stanek (Azucena), Hubert Kowalczyk (Ferrando), Marie Maidowski (Inez), Aaron Godfrey-Mayes (Ruiz), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)
For Leonora, the song of the troubadour Manrico holds the promise and glow of love; Manrico's rival Count Luna perceives in it threat and danger. Verdi's opera is a celebration of Italian opera singing at its best - so it is no coincidence that the title character is a singer himself. And yet for the composer, Azucena, Manrico's mother, was the real protagonist. Il trovatore is rich in dramatic intricacies and intense emotions, which Verdi abruptly juxtaposes in images and scenes. Tragedy relentlessly unfolds before our eyes and ears until the truth is revealed in the opera's final seconds. Stage: Alex Eales Costumes: Herbert Murauer Lighting: James Farncombe Video: Philipp Contag-Lada Dramaturgy: Ralf Waldschmidt Chorus: Christian Günther
Artistic depiction of the event
Next month
In Hamburg

Falstaff

Sun, Apr 6, 2025, 19:00
Finnegan Downie Dear (Musical Director), Christian Günther (Chorleitung), Christopher Purves (Falstaff), Simon Keenlyside (Ford), Seungwoo Simon Yang (Fenton), Jürgen Sacher (Dr. Cajus), Daniel Kluge (Bardolfo), Tigran Martirossian (Pistola), Danielle de Niese (Alice Ford), Olivia Warburton (Nannetta), Anna Kissjudit (Mrs. Quickly), Kady Evanyshyn (Meg Page), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)
Sir John Falstaff is an anarchist who obeys only the reign of his own enjoyment, an egoist who feeds only his power-hunger and his own flesh, and who would prefer to raze the small-minded morals of his contemporaries like the walls of a fortress – by seducing two women at the same time. Needless to say, his plan is thwarted, but those trying to expose him also fail to emerge unruffled from the confusion they unleash around him – which only the audience can keep track of, barely. “Tutto nel mondo è burla,” but these jokes are only funny because falling into the abyss actually does pose quite a serious risk. Arrigo Boito, the librettist of “Otello”, distilled a sophisticated, ingenious libretto from Shakespeare’s original, driving Verdi to highly complex compositional heights. Director: Calixto Bieito Set Designer: Susanne Gschwender Costume Designer: Anja Rabes Dramaturgy: Bettina Auer Lighting Designer: Michael Bauer Premiere: January 19th 2020
Artistic depiction of the event
Next month
In Hamburg

La Traviata

Tue, Apr 8, 2025, 19:30
Stefano Ranzani (Musical Director), Christian Günther (Chorleitung), Ruzan Mantashyan (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
Artistic depiction of the event
Next month
In Hamburg

Il trovatore

Wed, Apr 9, 2025, 19:00
Paolo Arrivabeni (Musical Director), Christian Günther (Chorleitung), George Petean (Luna), Marco Berti (Manrico), Olga Peretyatko (Leonora), Kristina Stanek (Azucena), Hubert Kowalczyk (Ferrando), Marie Maidowski (Inez), Aaron Godfrey-Mayes (Ruiz), Chor der Hamburgischen Staatsoper (Chorus), Philharmonisches Staatsorchester Hamburg (Orchestra)
For Leonora, the song of the troubadour Manrico holds the promise and glow of love; Manrico's rival Count Luna perceives in it threat and danger. Verdi's opera is a celebration of Italian opera singing at its best - so it is no coincidence that the title character is a singer himself. And yet for the composer, Azucena, Manrico's mother, was the real protagonist. Il trovatore is rich in dramatic intricacies and intense emotions, which Verdi abruptly juxtaposes in images and scenes. Tragedy relentlessly unfolds before our eyes and ears until the truth is revealed in the opera's final seconds. Stage: Alex Eales Costumes: Herbert Murauer Lighting: James Farncombe Video: Philipp Contag-Lada Dramaturgy: Ralf Waldschmidt Chorus: Christian Günther
Artistic depiction of the event
Next month
In Hamburg

Falstaff

Thu, Apr 10, 2025, 19:30
Finnegan Downie Dear (Musical Director), Christian Günther (Chorleitung), Christopher Purves (Falstaff), Simon Keenlyside (Ford), Seungwoo Simon Yang (Fenton), Jürgen Sacher (Dr. Cajus), Daniel Kluge (Bardolfo), Tigran Martirossian (Pistola), Danielle de Niese (Alice Ford), Olivia Warburton (Nannetta), Anna Kissjudit (Mrs. Quickly), Kady Evanyshyn (Meg Page), Philharmonisches Staatsorchester Hamburg (Orchestra), Chor der Hamburgischen Staatsoper (Chorus)
Sir John Falstaff is an anarchist who obeys only the reign of his own enjoyment, an egoist who feeds only his power-hunger and his own flesh, and who would prefer to raze the small-minded morals of his contemporaries like the walls of a fortress – by seducing two women at the same time. Needless to say, his plan is thwarted, but those trying to expose him also fail to emerge unruffled from the confusion they unleash around him – which only the audience can keep track of, barely. “Tutto nel mondo è burla,” but these jokes are only funny because falling into the abyss actually does pose quite a serious risk. Arrigo Boito, the librettist of “Otello”, distilled a sophisticated, ingenious libretto from Shakespeare’s original, driving Verdi to highly complex compositional heights. Director: Calixto Bieito Set Designer: Susanne Gschwender Costume Designer: Anja Rabes Dramaturgy: Bettina Auer Lighting Designer: Michael Bauer Premiere: January 19th 2020
Artistic depiction of the event
Next month
In Hamburg

The Odyssey

Fri, Apr 11, 2025, 19:30
Hamburg Ballett (Ensemble), Markus Lehtinen (Conductor), Philharmonisches Staatsorchester Hamburg (Orchestra)
One of the most important pieces of poetry is the epic "Odyssey" by the Greek lyricist Homer. John Neumeier decided to dedicate to this comprehensive work about the hero Odysseus and his adventurous journey at the invitation of the Athens opera and concert house Megaron in 1995. For his ballet version his aim was to get as close as possible to the roots of the epic and at the same time translate the literary original onto a level of movement. A prerequisite for this was the commissioning of a work by the Greek composer George Couroupos and the collaboration with the Greek stage and costume designer Yannis Kokkos. ten years of wandering ten years of return ten years of healing after ten years of war The Odyssey is inconceivable without war. For me, the point is that a person has to find his way back to himself after ten years of war. He must return to wholeness journeying back from a macho world of battle and war, defined in a negative sense as male, to rediscover his feminine aspect. Perhaps, this is Penelope. John Neumeier Music: George Couroupos – Commissioned Score by The Hamburg State Opera Choreography and Staging: John Neumeier Set and Costumes: Yannis Kokkos 2 hours 15 minutes | no intermission PREMIERE: Hamburg Ballet, Megaron The Athens Concert Hall, Athens, November 20, 1995 PREMIERE IN HAMBURG: Hamburg Ballet, December 17, 1995 ORIGINAL CAST: Odysseus: Ivan Liska Penelope: Anna Polikarpova Telemachos: Ivan Urban Pallas Athena: Anna Grabka He: Nicolas Musin Calypso: Heather Jurgensen Nausicaa: Bettina Beckmann Circe: Chantal Lefèvre The Sea: Laura Cazzaniga The Suitors / The War: Jirí Bubenícek, Otto Bubenícek Eurycleia: Karen Niles ON TOUR 1995 Athens 1996 Ludwigshafen, Montpellier, Genoa Nervi 1997 Sagami Ono, Osaka, Tokyo IN THE REPERTORY: Royal Danish Ballet
Artistic depiction of the event
Next month
In Hamburg

La Traviata

Sun, Apr 13, 2025, 18:00
Stefano Ranzani (Musical Director), Christian Günther (Chorleitung), Ruzan Mantashyan (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
Artistic depiction of the event
Next month
In Hamburg

The Odyssey

Tue, Apr 15, 2025, 19:30
Hamburg Ballett (Ensemble), Markus Lehtinen (Conductor), Philharmonisches Staatsorchester Hamburg (Orchestra)
One of the most important pieces of poetry is the epic "Odyssey" by the Greek lyricist Homer. John Neumeier decided to dedicate to this comprehensive work about the hero Odysseus and his adventurous journey at the invitation of the Athens opera and concert house Megaron in 1995. For his ballet version his aim was to get as close as possible to the roots of the epic and at the same time translate the literary original onto a level of movement. A prerequisite for this was the commissioning of a work by the Greek composer George Couroupos and the collaboration with the Greek stage and costume designer Yannis Kokkos. ten years of wandering ten years of return ten years of healing after ten years of war The Odyssey is inconceivable without war. For me, the point is that a person has to find his way back to himself after ten years of war. He must return to wholeness journeying back from a macho world of battle and war, defined in a negative sense as male, to rediscover his feminine aspect. Perhaps, this is Penelope. John Neumeier Music: George Couroupos – Commissioned Score by The Hamburg State Opera Choreography and Staging: John Neumeier Set and Costumes: Yannis Kokkos 2 hours 15 minutes | no intermission PREMIERE: Hamburg Ballet, Megaron The Athens Concert Hall, Athens, November 20, 1995 PREMIERE IN HAMBURG: Hamburg Ballet, December 17, 1995 ORIGINAL CAST: Odysseus: Ivan Liska Penelope: Anna Polikarpova Telemachos: Ivan Urban Pallas Athena: Anna Grabka He: Nicolas Musin Calypso: Heather Jurgensen Nausicaa: Bettina Beckmann Circe: Chantal Lefèvre The Sea: Laura Cazzaniga The Suitors / The War: Jirí Bubenícek, Otto Bubenícek Eurycleia: Karen Niles ON TOUR 1995 Athens 1996 Ludwigshafen, Montpellier, Genoa Nervi 1997 Sagami Ono, Osaka, Tokyo IN THE REPERTORY: Royal Danish Ballet
Artistic depiction of the event
Next month
In Hamburg

La Traviata

Wed, Apr 16, 2025, 19:30
Stefano Ranzani (Musical Director), Christian Günther (Chorleitung), Ruzan Mantashyan (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
Artistic depiction of the event
Next month
In Hamburg

Parsifal

Fri, Apr 18, 2025, 16:00
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
Artistic depiction of the event
Next month
In Hamburg

La Traviata

Sat, Apr 19, 2025, 19:00
Stefano Ranzani (Musical Director), Christian Günther (Chorleitung), Ruzan Mantashyan (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