Music drama in three acts - 1865

Composer Richard Wagner · Libretto by the composer
In German with German and English surtitles | New Production

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Cast for all dates

Lothar Koenigs
Krzysztof Warlikowski
Set Design
Małgorzata Szczęśniak
Felice Ross
Kamil Polak
Claude Bardouil
Stellario Fagone
Miron Hakenbeck (06-06-2022, 06-11-2022, 06-16-2022, 06-20-2022), Lukas Leipfinger (06-06-2022, 06-11-2022, 06-16-2022, 06-20-2022)

Stuart Skelton (06-06-2022, 06-11-2022, 06-16-2022, 06-20-2022)
König Marke
Mika Kares (06-06-2022, 06-11-2022, 06-16-2022, 06-20-2022)
Nina Stemme (06-06-2022, 06-11-2022, 06-16-2022, 06-20-2022)
Wolfgang Koch (06-06-2022, 06-11-2022, 06-16-2022, 06-20-2022)
Sean Michael Plumb (06-06-2022, 06-11-2022, 06-16-2022, 06-20-2022)
Okka von der Damerau (06-06-2022, 06-11-2022, 06-16-2022, 06-20-2022)
Ein Hirte
Jonas Hacker (06-06-2022, 06-11-2022, 06-16-2022, 06-20-2022)
Ein Steuermann
Christian Rieger (06-06-2022, 06-11-2022, 06-16-2022, 06-20-2022)
Ein junger Seemann
Caspar Singh (06-06-2022, 06-11-2022, 06-16-2022, 06-20-2022)
  • Bayerisches Staatsorchester
  • Chorus of the Bayerische Staatsoper
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The genre-typical conflict of a love triangle has never been compacted in an opera as elementarily and ultimately transcending as it is in Richard Wagner’s Tristan und Isolde. Tristan and Isolde’s passionate love stands above all societal norms here. King Marke is betrayed as Isolde’s lawful husband by Isolde and Tristan, but Wagner’s music confirms and legitimises the adultery. Immediately in the first act, Tristan and Isolde’s shared death wish draws them to their plan to take their lives together. So what psychological source can this death wish be attributed to? Unknowingly the central characters drink a love potion instead of the expected poison. Do the now overflowing emotions truly spring directly from a supposedly magical love spell? The music also transcends all boundaries with Wagner exhausting the traditional tonality in chromatic sounds, and of course he subsequently heavily influenced modern compositional techniques right into the 20th century. The ambiguous harmony introduced in the Prelude, which repeatedly returns as a leitmotif throughout the plot, later became known as Wagner's famous “Tristan chord”.

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Lothar Koenigs, geboren in Aachen, studierte Klavier und Dirigieren an der Musikhochschule in Köln. Von 1999 bis 2003 war er Musikdirektor in Osnabrück, gastierte danach u. a. an den Opernhäusern in Wien, New York, Dresden, Mailand, Hamburg, Venedig, Rom und Lyon. Von 2009 bis 2016 war er Music Director an der Welsh National Opera, wo er u. a. Chowanschtschina, Fidelio, Tristan und Isolde, Die Meistersinger von Nürnberg und Lohengrin dirigierte. Gastdirigate führten ihn u. a. zu den BBC Proms und zum Edinburgh Festival. Zu seinem Repertoire zählen Werke wie Jenůfa, Elektra, Salome, Wozzeck, Hänsel und Gretel, Le nozze di Figaro, Lohengrin, Die Königskinder und Pelléas et Mélisande. In Symphoniekonzerten war er u. a. mit Orchestern wie den Wiener und den Dresdner Philharmonikern, dem Beethoven Orchester Bonn und dem Orchestra dell’Accademia Nazionale di Santa Cecilia zu erleben. (Stand: 2019)

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