Il tabarro / Suor Angelica / Gianni Schicchi

Three operas, each in one act

Composer Giacomo Puccini · Libretti by Giuseppe Adami and Giovacchino Forzano
In Italian with English and German surtitles | New Production

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Cast for all dates

Musikalische Leitung
Kirill Petrenko
Lotte de Beer
Konzeptionelle Beratung
Peter te Nuyl
Bernhard Hammer
Jorine van Beek
Alex Brok
Malte Krasting
Sören Eckhoff

Il tabarro

Wolfgang Koch
Yonghoon Lee
Il Tinca
Kevin Conners
Il Talpa
Martin Snell
Eva-Maria Westbroek
La Frugola
Heike Grötzinger
Ein Liedverkäufer
Dean Power
Ein Liebespärchen Sopran
Rosa Feola
Ein Liebespärchen Tenor
Pavol Breslik

Suor Angelica

Suor Angelica
Ermonela Jaho
Die Fürstin
Michaela Schuster
Die Äbtissin
Heike Grötzinger
Die Schwester Eiferin
Helena Zubanovich
Die Lehrmeisterin der Novizen
Jennifer Johnston
Schwester Genoveva
Anna El-Khashem
Schwester Dolcina
Paula Iancic
Schwester Pflegerin
Alyona Abramowa
1. Almosensucherin
Selene Zanetti
2. Almosensucherin
Niamh O’Sullivan
1. Laienschwester
Selene Zanetti
2. Laienschwester
Niamh O’Sullivan
Kinderchor der Bayerischen Staatsoper

Gianni Schicchi

Gianni Schicchi
Ambrogio Maestri
Rosa Feola
Michaela Schuster
Pavol Breslik
Dean Power
Selene Zanetti
Solist des Kinderchores
Betto di Signa
Christian Rieger
Martin Snell
Sean Michael Plumb
La Ciesca
Jennifer Johnston
Maestro Spinelloccio
Donato Di Stefano
Ser Amantio di Nicolao
Andrea Borghini
Milan Siljanov
Boris Prýgl
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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.

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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 Schatten, La clemenza di Tito, Die Soldaten, Lucia di Lammermoor and Lulu as well as 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 the world premiere of Miroslav Srnka's South Pole, next up is a new production of Wagner's Die Meistersinger von Nürnberg in May 2016. Furthermore, Kirill Petrenko conducts revivals of Lulu, Tosca, Ariadne auf Naxos, Die Fledermaus and Der Rosenkavalier, as well as three Academy Concerts with the Bayerische Staatsorchester.

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