Information

Opera in three acts

· Libretto by Komponisten after „Aufzeichnungen aus einem Totenhaus“ by Fjodor M. Dostojewski
In Czech with English and German surtitles | New Production

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Dates & Tickets

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Cast for all dates

Musikalische Leitung
Simone Young
Inszenierung
Frank Castorf
Bühne
Aleksandar Denic
Kostüme
Adriana Braga-Peretzki
Licht
Rainer Casper
Video
Andreas Deinert, Jens Crull
Dramaturgie
Miron Hakenbeck
Chor
Sören Eckhoff

Aleksander Petrowitsch Gorjantschikow
Peter Rose (05-21-2018, 05-26-2018, 05-30-2018, 06-03-2018, 06-05-2018, 06-08-2018) , Peter Mikuláš (07-30-2018)
Alej
Evgeniya Sotnikova
Filka Morosow
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 betrunkene Sträfling
Studiom
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
Dean Power
Eine Stimme hinter der Szene
Dean Power
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„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.

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Biographies

Simone Young studierte in ihrer Heimatstadt Sydney Klavier und Komposition. Nach Stationen als Chefdirigentin des Bergen Philharmonic Orchestras und als Künstlerische Leiterin sowie Chefdirigentin an der Australian Opera in Sydney und Melbourne war sie von 2005 bis 2015 Intendantin der Staatsoper Hamburg und Generalmusikdirektorin des Philharmonischen Staatsorchesters Hamburg. Darüber hinaus gastierte sie an zahlreichen Opernhäusern, darunter die Wiener Staatsoper, die Opéra national de Paris, das Royal Opera House Covent Garden in London, die Metropolitan Opera in New York und die Staatsoper Berlin. Neben ihrer umfangreichen Operntätigkeit dirigierte sie u. a. die Berliner, Wiener und Münchner Philharmoniker.

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