Romantic opera in three acts - 1845
Composer Richard Wagner · Libretto by Richard Wagner
In German language with English and German surtitles
Thursday, 21. September 2017
03:00 pm – 07:45 pm
Duration est. 4 hours 45 minutes · 1. Akt (est. 03:00 pm - 04:10 pm ) · Interval (est. 04:10 pm - 05:00 pm ) · 2. Akt (est. 05:00 pm - 06:10 pm ) · Interval (est. 06:10 pm - 06:50 pm ) · 3. Akt (est. 06:50 pm - 07:45 pm )
Premiere at 21. May 2017
- Kirill Petrenko
- Based on a production by
- Romeo Castellucci
- Cindy Van Acker
- Artistic Consultant
- Silvia Costa
- Piersandra Di Matteo
- Malte Krasting
- Marco Giusti
- Sören Eckhoff
- Hermann, Landgraf von Thüringen
- Georg Zeppenfeld
- Klaus Florian Vogt
- Wolfram von Eschenbach
- Matthias Goerne
- Walther von der Vogelweide
- Dean Power
- Peter Lobert
- Heinrich der Schreiber
- Ulrich Reß
- Reinmar von Zweter
- Ralf Lukas
- Elisabeth, Nichte des Landgrafen
- Annette Dasch
- Elena Pankratova
- Ein junger Hirt
- Elsa Benoit
- Vier Edelknaben
- Solist/en des Tölzer Knabenchors
- Bayerisches Staatsorchester
- Chorus of the Bayerische Staatsoper
TANNHÄUSER: „O du mein holder Abendstern“Christian Gerhaher singt „O du mein holder Abendstern“ ...
TANNHÄUSER: 1. Aufzug
TANNHÄUSER: Castelluccis Bildwelten „Scheibe“
TANNHÄUSER: Castelluccis Bildwelten „Pfeil und Bogen“
TANNHÄUSER: Castelluccis Bildwelten „Fleisch“
TANNHÄUSER: Castelluccis Bildwelten: „Verwesung“
A case of man torn apart by dualism? Matter and mind, physical fulfilment and intellectual aspiration, earthly lust and heavenly transfiguration – for millennia, philosophers and religions have claimed the existence of conflicting principles.
Tannhäuser, a metaphor for an artist or simply a man on a search, refuses to accept this separation and wanders between these antagonistic worlds. His goal is not to reconcile the contradiction, but rather to negate it with his determination to inhabit all worlds. He searches for answers to his yearning for fulfilment in spiritual mysticism, in love based on Christian teaching or in unadulterated sex. Yet, there is always something missing and his hunger is never stilled. For this reason, Tannhäuser never seems to settle. There is always something driving him further on. His sense of revulsion at himself becomes even greater than his rejection of mediocrity, of all those content to compromise (just as the Wartburg minstrels, with their anaemic art, do), rather than exploiting life's full potential. Tannhäuser is motion with no destination in sight. In the same way, Richard Wagner never seemed able to complete this work, no matter how often it was reworked.
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 has held 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, 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.