Information

Opera in three acts

Composer Erich Wolfgang Korngold · Libretto by Paul Schott (Julius Leopold Korngold) frei after Georges Rodenbachs Roman „Bruges-la-morte“
In German with German and English Surtitels | New Production

Tuesday, 26. November 2019
07:00 pm – 10:15 pm
Nationaltheater

Duration est. 3 hours 15 minutes · 1. Akt (est. 07:00 pm - 07:50 pm ) · Interval (est. 07:50 pm - 08:10 pm ) · 2. Akt (est. 08:10 pm - 08:57 pm ) · Interval (est. 08:57 pm - 09:27 pm ) · 3. Akt (est. 09:27 pm - 10:15 pm )

Introductory Event: 06:00 PM

Open ticket sales

Premiere at 18. November 2019

#BSOstadt

Download Cast List (PDF)
  • sponsored by

  • In Kooperation mit dem Theater Basel

To List of Performances

Dates & Tickets

To List of Performances

Cast

Musikalische Leitung
Kirill Petrenko
Inszenierung
Simon Stone
Mitarbeit Regie
Maria-Magdalena Kwaschik
Bühne
Ralph Myers
Kostüme
Mel Page
Licht
Roland Edrich
Chöre
Stellario Fagone
Dramaturgie
Lukas Leipfinger

Paul
Jonas Kaufmann
Marietta/Die Erscheinung Mariens
Marlis Petersen
Frank/Fritz
Andrzej Filonczyk
Brigitta
Jennifer Johnston
Juliette
Mirjam Mesak
Lucienne
Corinna Scheurle
Gaston/Victorin
Manuel Günther
Graf Albert
Dean Power
Kinderchor
Kinderchor der Bayerischen Staatsoper
  • Bayerisches Staatsorchester
  • Chorus of the Bayerische Staatsoper
To List of Performances

Media

To List of Performances

Learn more

The boundary between dream and reality increasingly dissolves as Paul, mourning his dead wife Marie, meets the dancer Marietta. With her looks so similar to Marie’s, Marietta becomes the object of the projection of Paul’s erotic desires. His grief has the traits of a ritual: The carefully composed strands of his dead wife’s hair are guarded like a relic. Following a nerve-racking “vision” with cathartic effect, Paul is finally reeled back to reality. He can leave the Belgian city of Bruges as the place of his death cult. The original title of the piece, “Triumph des Lebens” (Triumph of Life), is symbolic of the main character’s personal development.
Just a few weeks before the immensely successful world premiere of Die tote Stadt, none other than Giacomo Puccini himself described Erich Wolfgang Korngold, only 23 at the time, as the “greatest hope of new German music”. Because of their melodic urgency, arias such as “Glück, das mir verblieb (Marietta's Lute Song)” and “Mein Sehnen, mein Wähnen (Pierrot's Song)” have found a home among the concert repertoires of numerous opera singers and radiate far beyond the fame of Die tote Stadt.

 

To List of Performances

Biographies

Kirill Petrenko was born in Omsk in 1972 where he studied piano at the College of Music. At the age of eleven he gave his first public performance as a pianist with the Omsk Symphony Orchestra. In 1990 his family (his father a violinist and his mother a musicologist) relocated to Vorarlberg where his father worked as an orchestra musician and music teacher. Petrenko first continued his studies in Feldkirch before moving to Vienna to study conducting at the Academy of Music and Performing Arts. 

His first job after graduation took him directly to the Vienna Volksoper where he was hired by Nikolaus Bachler as Kapellmeister. From 1999 until 2002 Kirill Petrenko was General Music Director at the Meininger Theater. It was in 2001 in his role as conductor of Wagner's Der Ring des Nibelungen, in the production by Christine Mielitz and with scenery by Alfred Hrdlicka, that he first achieved international acclaim. In 2002 Kirill Petrenko became General Music Director of the Komische Oper Berlin where, until 2007, he was credited with a series of highly significant productions.

During his time in Meiningen and Berlin his international career also began to flourish. In 2000 Kirill Petrenko made his debut at the Maggio Musicale Fiorentino, in 2001 at the Vienna Staatsoper and the Dresden Semperoper, in 2003 at the Gran Teatre del Liceu in Barcelona, the Opéra National de Paris, the Royal Opera House Covent Garden in London, the Bayerische Staatsoper, the New York Metropolitan Opera and in 2005 at the Oper Frankfurt. In Lyon, in collaboration with Peter Stein, he conducted all three Pushkin-inspired operas by Tchaikovsky (Mazeppa, Eugene Onegin and Pique Dame) from 2006 until 2008, which were also performed as a cycle in early 2010.

After moving on from the Komische Oper Berlin Kirill Petrenko worked as a freelance conductor. During this period his projects included conducting a new production of Leoš Janáček's Jenůfa (Production: Barbara Frey) at the Bayerische Staatsoper in 2009. In Frankfurt he conducted Pfitzner's Palestrina (Production: Harry Kupfer) and Puccini's Tosca (Production: Andreas Kriegenburg). In 2011 he worked on two new productions of Tristan and Isolde at the Opéra National de Lyon and at the Ruhrtriennale.

To date, the most important orchestras Kirill Petrenko has been invited to conduct include the Berlin Philharmonic, the Dresden Staatskapelle, the BR Symphony Orchestra, the Bayerische Staatsorchester, the WDR Cologne Symphony Orchestra, the Hamburg Philharmonic and the NDR Hamburg Symphony Orchestra, the Frankfurt Opern- und Museumsorchester, the Amsterdam Concertgebouworkest, the Vienna Radio Symphony Orchestra, the Vienna Symphony, the Cleveland Orchestra, the Chicago Symphony Orchestra, the London Philharmonic Orchestra, the Oslo Philharmonic Orchestra, the Santa Cecilia Orchestra in Rome, the RAI National Symphony Orchestra in Turin and the Israel Philharmonic Orchestra. Kirill Petrenko has also conducted concerts at the Bregenz and Salzburg Festivals. From 2013 to 2015 he swung his baton for the new production of Richard Wagner's Der Ring des Nibelungen during the Bayreuth Festival.
 

Since September 2013 Kirill Petrenko has been General Music Director at the Bayerische Staatsoper. He will be working in this position until the end of the 2019/20 season. Since 2013, he has taken to the rostrum for premieres of Die Frau ohne SchattenLa clemenza di TitoDie SoldatenLucia di Lammermoor, Lulu, Die Meistersinger von Nürnberg, Lady Macbeth of the Mtsenk District and Tannhäuser as well as the world premiere of Miroslav Srnka’s South Pole and a revival of Wagner's Der Ring des Nibelungen among other works. In June 2015, Kirill Petrenko was named future Chief Conductor of the Berlin Philharmonic, starting this position in autumn 2019.

In the current season at the Bayerische Staatsoper Kirill Petrenko led an new production of Verdi's Otello  and Strauss' Salome. Furthermore, Kirill Petrenko conducts revivals of Die Meistersinger von Nürnberg, Fidelio, and Parsifal as well as two Academy Concerts with the Bayerische Staatsorchester.

read more

To List of Performances