One World Premiere and three New Productions in Autumn 2020

The Bayerische Staatsoper will open the 2020–2021 season with a world premiere: 7 Deaths of Maria Callas will catch up on the opera project by performance artist Marina Abramović, which was planned for April 2020. On September 3, the Opera Studio production Mignon in a production by Christiane Lutz will celebrate its premiere on the Cuvilliés Theate's stage. Frank Castorf's production of Die Vögel is scheduled to open on 31 October 2020, but the premiere of Luca Francesconi's Timon of Athens has unfortunately been postponed indefinitely. Instead, Wolfgang Koch will make his role debut in Mateja Koležnik's new production of Giuseppe Verdi's Falstaff on 26 November 2020, which was originally planned for the summer of the festival.

 

Marina Abramović: 7 DEATHS OF MARIA CALLAS

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Live Stream and VOD

Live Stream
in cooperation with BR-KLASSIK

On 5 September 2020, from 8 pm we will broadcast the performance of 7 Deaths of Maria Callas live and free of charge on STAATSOPER.TV

 

30 Days Video-on-Demand
The presentation will also be available as video-on-demand from 8 September 2020, 12 pm (noon) to 8 October 2020, 11.59 am.

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AN OPEN CONVERSATION

A conversation between Marina Abramović und Nikolaus Bachler

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Opera Studio Production: MIGNON

Premiere on 3 September 2020

Conductor: Pierre Dumoussaud
Production: Christiane Lutz

 

While Giacomo Meyerbeer and Charles Gounod both declined the offer to set Mignon's libretto to music, Ambroise Thomas finally ventured to adapt Johann Wolfgang von Goethe's novel Wilhelm Meister's Apprenticeship. The heroine of the title was abducted as a child and as a young woman was bought free from her captivity by Wilhelm. She falls in love with her saviour, who, however, only realizes his own love for Mignon when it is a matter of life and death.

Mirjam Mesak shares the title role with Sarah Gilford, a newcomer to the opera studio. Also singing are Caspar Singh, Oğulcan Yılmaz and Daria Proszek. The newcomers Juliana Zara (soprano) and Christian Valle (bass-baritone) can also be heard in the new production. The new members were selected from over 850 applications.

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The singers of the Opera Studio of the Bayerische Staatsoper

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Walter Braunfels: DIE VÖGEL

Preview: DIE VÖGEL
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Premiere on 31 October 2020

Conductor: Ingo Metzmacher
Production: Frank Castorf

 

It has literally come to be – the “cloud-cuckoo-land” of Aristophanes’s ancient comedy, The Birds. With unprecedented hubris the birds believe they are the Gods’ equal and can build their own powerful state, which will practically starve the Gods. How mistaken they are – at once foolhardy and ridiculously risible, with a tragic end for the rebels. The world premiere of his adaptation of the ancient material in Munich in 1920 was a huge breakthrough for composer Walter Braunfels. An enormous success, followed in Munich alone by fifty performances! His version is idiosyncratic and stand-alone – Braunfels adds a deeply romantic aspect to the piece, while remaining true to the comedy. He not only understands the new polity of the birds in political terms; he also does so artistically and lyrically. The new state’s failure is attributed to both a lust for power and a misplaced idealisation. The ancient myth is reflected in the sorrowful experiences of a world of yesterday. For Braunfels the ruins of the First World War are visible signs all around of the both political and spiritual decay – his opera is a final emphatic uprising against the fragmentation of the present. One hundred years later the work’s first new production now follows at the point of its world premiere.

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Giuseppe Verdi: FALSTAFF

Premiere on 26 November 2020

Conductor: N.N.
Production: Mateja Koležnik


Verdi’s last opera was only his second excursion into the comedy genre. Almost fifty years after his early piece, Un giorno di regno, was not a roaring success, he dared approach the Shakespearean material, congenially prepared by his librettist, Arrigo Boito. Falstaff should have spirit, Verdi wrote Boito, and he therefore extended the original, Shakespeare’s The Merry Wives of Windsor, with passages from Henry IV (where Shakespeare had Sir John Falstaff appear for the first time), didn’t scrimp on the literary references and poetic artifices, and invented some of the most wonderful tirades in literary history. Verdi followed the libretto with a detailed, fully composed tour de force full of wit and depth, in which the driving grotesque is set just as unrivalled in music as the lyrical moments are.

 

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