Opera Premieres 2017/18

Wolfgang Amadeus Mozart 1756 — 1791

Opera buffa in four acts • 1786
Libretto by Lorenzo da Ponte

In Italian with German and English surtitles

Conductor Constantinos Carydis
Production Christof Loy
Stage Johannes Leiacker
Costumes Klaus Bruns
Light Franck Evin
Chorus Stellario Fagone
Dramaturgy Daniel Menne

• Il Conte di Almaviva Christian Gerhaher
• La Contessa di Almaviva Federica Lombardi
• Cherubino Solenn' Lavanant-Linke
• Figaro Alex Esposito
• Susanna Olga Kulchynska
• Bartolo Paolo Bordogna
• Marcellina Anne Sofie von Otter
• Basilio Manuel Günther
• Don Curzio Dean Power
• Antonio Milan Siljanov
• Barbarina Anna El-Khashem

Thu, 26.10.17, 6 pm, Prices S, Premiere
Sat, 28.10.17, 6 pm, Prices L, Abo
Tue, 31.10.17, 5 pm, Prices L, Abo
Sat, 04.11.17, 7 pm, Prices L, Abo
Tue, 07.11.17, 7 pm, Prices L, Abo
Fri, 10.11.17, 7 pm, Prices L, Abo

Sun, 15.07.18, 7 pm,  Prices L
Tue,  17.07.18, 6 pm,  Prices L

Prices in Euro
L 163 / 142 / 117 / 91 / 64 / 39 / 15 / 11
S 243 / 213 / 183 / 143 / 102 / 67 / 21 / 16

Introductory matinee
Sun, 15.10.17, 11 am
Tickets € 10,– / € 0,– Drama Plus

The premiere will be broadcast
live on BR-Klassik.

The marriage of Figaro and Susanna is imminent. However, when Figaro learns that his betrothed is being courted by another, a dangerous game of intrigue and exposure begins. The extent to which the work’s protagonists are caught up in a dense web of emotional dependency becomes ever clearer. In Le nozze di Figaro [The Marriage of Figaro] Mozart shows that it is love that sometimes inflicts the deepest wounds – and that healing is only available to one prepared to offer himself to the other in total surrender. This opera, first performed in 1786, deals with a timeless theme: the both confusing and fascinating complexity of human relationships.

Preview: Le nozze di Figaro

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Giacomo Puccini 1858 — 1924

Three operas, each in one act • 1918

In Italian with German and English surtitles

Conductor Kirill Petrenko
Production Lotte de Beer
Stage Bernhard Hammer
Costumes Jorine van Beek
Light Alex Brok
Chorus Sören Eckhoff
Conceptual ounsultant Peter te Nuyl
Dramaturgy Malte Krasting

Libretto by Giuseppe Adami

• Michele Wolfgang Koch 
• Luigi Yonghoon Lee
• Il Tinca Martin Snell 
• Il Talpa Kristof Klorek
• Giorgetta Eva-Maria Westbroek
• La Frugola Heike Grötzinger
• Ein Liedverkäufer Dean Power

Libretto by Giovacchino Forzano

• Suor Angelica Ermonela Jaho
• La zia principessa Michaela Schuster
• La badessa Heike Grötzinger
• La suora zelatrice Helena Zubanovich
• La maestra della novizie Jennifer Johnston
• Suora Genoveva Anna El-Khashem

Libretto by Giovacchino Forzano

• Gianni Schichi Ambrogio Maestri
• Lauretta Rosa Feola
• Zita Michaela Schuster
• Rinuccio Pavol Breslik
• Gherardo Dean Power
• Nella Selene Zanetti
• Betto di Signa Christian Rieger
• Simone Martin Snell
• Marco Sean Michael Plumb
• La Ciesca Jennifer Johnston
• Maestro Spinelloccio Donato Di Stefano
• Ser Amantio di Nicolao Andrea Borghini
• Pinellino Milan Siljanov
• Guccio Boris Prýgl

Sun, 17.12.17, 6 pm, Prices S, Premiere
Wed, 20.12.17, 6 pm, Prices L, Abo
Sat, 23.12.17, 6 pm, Prices L, Abo
Wed, 27.12.17, 6 pm, Prices L, Abo
Sat, 30.12.17, 6 pm, Prices L, Abo
Mon, 01.01.18, 6 pm , Prices L, Abo

Sat, 14.07.18, 19:00 Uhr, Preise L
Mon, 16.07.18, 18:00 Uhr, Preise L

Prices in Euro
L 163 / 142 / 117 / 91 / 64 / 39 / 15 / 11
S 243 / 213 / 183 / 143 / 102 / 67 / 21 / 16

Introductory matinee
Sun, 10.12.17, 11 am
Tickets € 10,– / € 0,–Drama Plus

The premiere be broadcast
live on BR-Klassik.

The thriller on the Seine. The suffering, death and glorification of a mother, whose child has been taken from her. And, as a Satyr play, the confidence trick by the shiftiest legacy hunter of the Middle Ages. Three self-contained operas with seemingly unconnected narratives. But are they? Il tabarro, Suor Angelica and Gianni Schicchi – the three one-acters which Giacomo Puccini merged under the art-historical title of “The Triptych” – are snippets of reality. Instead of trying and failing to portray the world in its entirety in a long opera, similar to an epic novel, he gives prominence to three historical events, united in one piece of music, which seek to convey authentically every nuance of human emotion from ruthless coldness of heart to burning passion.

Preview: Il trittico

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Giuseppe Verdi 1813 — 1901

Opera in five acts • 1855
Libretto by Eugène Scribe and
Charles Duveyrier

In French with German and English surtitles

Conductor Omer Meir Wellber
Production Antú Romero Nunes
Stage Matthias Koch
Costumes Victoria Behr
Light Michael Bauer
Chorus Stellario Fagone
Dramaturgy Rainer Karlitschek

• Hélène Carmen Giannattasio
• Ninetta Helena Zubanovich
• Henri Bryan Hymel
• Guy de Montfort George Petean
• Procida Erwin Schrott
• Danieli Matthew Grills
• Mainfroid Galeano Salas
• Robert Callum Thorpe
• Thibaut Dean Power
• Le Sire de Béthune Alexander Milev
• Le Comte de Vaudemont Johannes Kammler

Sun, 11.03.18, 6 pm, Prices M, Premiere
Thu, 15.03.18, 7 pm, Prices L, Abo
Sun, 18.03.18, 6 pm, Prices L, Abo
Thu, 22.03.18, 7 pm, Prices L, Abo
Sun, 25.03.18, 6 pm, Prices L, Abo

Thu, 26.07.18, 7 pm, Prices L
Sun, 29.07.18, 6 pm, Prices L

Prices in Euro
L 163 / 142 / 117 / 91 / 64 / 39 / 15 / 11
M 193 / 168 / 142 / 117 / 90 / 64 / 16 / 14

Introductory matinee
Sun, 25.02.18, 11 am
Tickets € 10,– / € 0,–Drama Plus

The premiere will be broadcast
live on BR-Klassik.

What happens to love when it is besieged on both sides – by politics on the one side and family loyalties on the other? And what if both these forces are fatefully and inextricably linked? In his grand opéra Les Vêpres siciliennes Giuseppe Verdi takes a no-holds-barred look at these questions, presenting the two lovers Hélène and Henri. Even as their wedding bells are still pealing, they fall victim to a massacre resulting from the irreconcilable enmity between Sicilians and their French occupiers. Love demonstrates no utopian powers.

And yet, Verdi’s enthralling composition draws its listeners in and keeps the audience on the edge of their seats.

Preview: Les Vêpres siciliennes

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Leoš Janáček 1854 — 1928

Opera in three acts • 1930
Libretto by the composter
after „Aufzeichnungen aus einem Totenhaus“ by Fjodor M. Dostojewski

In Czech with German and English surtitles

Conductor Simone Young
Production Frank Castorf
Stage Aleksandar Denic
Costume Adriana Braga-Peretzki
Light Rainer Casper
Video-Design and Camera Andreas Deinert
Live-Cutter Jens Crull
Chorus Sören Eckhoff
Dramaturgy Miron Hakenbeck

• Alexander Petrowitsch Gorjantschikow
  Peter Rose 21. / 26. / 30. Mai / 3. / 5. / 8. Jun
  Peter Mikuláš 30. Jul
• Alej, ein junger Tatar Evgeniya Sotnikova
• Filka Morosow (im Gefängnis unter dem
  Namen Luka Kusmitsch) Aleš Briscein
• Der große Sträfling Manuel Günther
• Der kleine Sträfling Tim Kuypers
• Der Platzkommandant Christian Rieger
• Der ganz alte Sträfling Ulrich Reß
• Skuratow Charles Workman
• Tschekunow Johannes Kammler
• Der Koch Boris Prýgl
• Der Schmied Alexander Milev
• Der Pope Peter Lobert
• Dirne Heike Grötzinger
• Ein Sträfling in der Rolle des
  Don Juan und des Brahminen Callum Thorpe
• Kedril Matthew Grills
• Schapkin Kevin Conners
• Schischkow Bo Skovhus
• Tscherewin / Eine Stimme aus der kirgisischen
  Steppe Dean Power

Mon, 21.05.18, 6 pm, Prices M, Premiere
Sat, 26.05.18, 7 pm, Prices L, Abo
Wed, 30.05.18, 7 pm, Prices K, Abo
Sun, 03.06.18, 6 pm, Prices L, Abo
Tue, 05.06.18, 7 pm, Prices L, Abo
Fri, 08.06.18, 7 pm, Prices L, Abo

Mon, 30.07.18, 7 pm, Prices L

Prices in Euro
K 132 / 115 / 95 / 74 / 52 / 30 / 14 / 10
L 163 / 142 / 117 / 91 / 64 / 39 / 15 / 11
M 193 / 168 / 142 / 117 / 90 / 64 / 16 / 14

Introductory matinee
Sun, 13.05.18, 11 am
Tickets € 10,– / € 0,–Drama Plus

The premiere will be broadcast
live on BR-Klassik.

„The House of the Dead“ – the moniker accorded to the Siberian labour camp by those held within it: thieves, killers, political prisoners. This is a place in which captives are incessantly monitored and punished. With its very own rules involving power and submission; its hierarchies and bullying by those in authority; this is a place far from civilisation, which acts both as its blind spot and its mirror. Based on Fyodor Dostoyevsky’s novel The House of the Dead, in which the author processes his own four-year incarceration, Leoš Janáček created a singular work of musical theatre. This is an opera without heroes; without the standard plot revolving around conflict and its subsequent resolution. Against a backdrop of the tedium and gruelling routine of camp life, Janáček allows individual prisoners and their stories to emerge briefly from the multitude. He draws out personal journeys marked by humiliation and abuse. Janáček’s unique musical idiom feels like eavesdropping and provides a raw, gestural expression for the brutality faced in the camp, but also for the moments of shared hope, compassion and solidarity.

Preview: Aus einem Totenhaus

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Richard Wagner 1813 — 1883

Libretto by the composer

In German with German and English surtitles

Conductor Kirill Petrenko
Production Pierre Audi
Stage Georg Baselitz
Costumes Florence von Gerkan
Light Urs Schönebaum
Chorus Sören Eckhoff
Dramaturgy Benedikt Stampfli

• Amfortas Christian Gerhaher 
• Titurel Bálint Szabó
• Gurnemanz René Pape
• Parsifal Jonas Kaufmann
• Klingsor Wolfgang Koch
• Kundry Nina Stemme
• Erster Gralsritter Kevin Conners
• Zweiter Gralsritter Callum Thorpe
• Stimme aus der Höhe Rachael Wilson
• Erster Knappe Elsa Benoit
• Zweiter Knappe Tara Erraught
• Dritter Knappe Manuel Günther
• Vierter Knappe Matthew Grills
• Blumenmädchen Golda Schultz, Elsa
, Selene Zanetti, Tara Erraught,
  Alyona Abramowa, Rachael Wilson

Munich Opera Festival
Thu, 28.06.18, 4 pm, Prices V, Premiere
Sun, 01.07.18,
4 pm, Prices U, Abo
Thu, 05.07.18,
4 pm, Prices U
Sun, 08.07.18,
4 pm, Prices U, Opera for all TV
Tue, 31.07.18,
4 pm, Prices V

Prices in Euro
U 293 / 263 / 228 / 183 / 128 / 75 / 32 / 23  
V 343 / 313 / 272 / 213 / 154 / 82 / 35 / 25 

Introductory matinee
Sun, 24.06.18, 11 am
Tickets € 10,– / € 0,– Drama Plus

The premiere will be broadcast
live on BR-Klassik.

TV The performance will be broadcast live via

Neither balsam, nor medicinal herbs can provide relief to the wounded and ailing Amfortas, ruler of the Grail kingdom. His path to recovery proves to be a complex one. No member of the Grail community can reclaim the spear which inflicted the wound, but only an outsider, a “pure fool”, enlightened by compassion. Only by the tip of this spear touching Amfortas’s wound can he be healed. On his journey of self-discovery, towards his destiny as chosen deliverer, Parsifal is accompanied, not only by the skilful Grail Knight Gurnemanz, but also by the enigmatic and seductive Kundry, who opens his eyes to sensuality and extrasensory experience.

Parsifal, a „Bühnenweihfestspiel“ („A Stage Inauguration Festival Play“), was first performed in Bayreuth in 1882. Richard Wagner’s final musical drama addresses wounds which fester both within individuals, as well as in society as a whole, before proffering miracle remedies with the ability to ease the pain„

Preview: Parsifal

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Joseph Haydn 1732 — 1809

Dramma eroicomico in three acts • 1782
Libretto by Nunziato Porta

In Italian with German and English surtitles

Conductor Ivor Bolton
Production Axel Ranisch
Dramaturgy Rainer Karlitschek

• Angelica Sofia Fomina
• Rodomonte Edwin Crossley-Mercer
• Orlando Mathias Vidal
• Medoro Dovlet Nurgeldiyev
• Licone Guy de Mey
• Eurilla Hélène Guilmette
• Pasquale David Portillo
• Alcina Tara Erraught

Munich Opera Festical
Mon, 23.07.18, 7 pm, Prices PA, Premiere
Wed, 25.07.18, 7 pm, Prices PB
Fri, 27.07.18, 7 pm, Prices PB
Sun, 29.07.18, 5 pm, Prices PB

Prices in Euro
PA 161 / 125 / 89 / 47 / 35
PB 132 / 104 / 76 / 42 / 32

Introductory matinee at Prinzregententheater
Sun, 15.07.18, 11 am
Tickets € 10,– / € 0,–Drama Plus

The premiere will be broadcast
live on BR-Klassik.

This knight is no war hero; choosing to pursue his obsession, rather than to fight. Orlando, the illustrious crusader from Ariost‘s verse novel Orlando furioso, is in love with Angelica, though she is betrothed to another. In his erotomania, he presents a both unintentionally funny and tragic figure. Joseph Haydn described his (at that time) most internationally successful opera from 1782 as a dramma eroicomico; this categorisation already suggests what the composer, as he sat in his opera laboratory at the Palace of Esterházy, was interested in: namely, in taking seriously and musically exploring the depths of human existence in all its brokenness, regardless of how bizarre this might appear.

Preview: Orlando Paladino

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