DIE NASE (NOS)

recommended for 16 years and older

Opera in three acts and an epilogue by Dmitri Shostakovich (1927/1928)

Composer Dmitri Schostakowitsch. Libretto by Dmitri Shostakovich, Yewgeni Ivanowich Samyatin and Alexander Preis, based on the eponymous short story by Nikolai Gogol.
In russian · With english surtitels. New Production.

Premiere at 24. October 2021

Munich Opera Festival Sunday, 17. July 2022, 07:00 pm o'clock – 09:15 pm o'clock, Nationaltheater.

Duration est. 2 hours 15 minutes

Munich Opera Festival, <30 (Info), <30-Tickets, Neuproduktionen

Prices L , € 163 /142 /117 /91 /64 /39 /15 /11

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[Translate to English:]

Einführungen zu Die Nase finden am 17. und 20.7.22 jeweils 1 Stunde vor Vorstellungsbeginn im 1. Rang im Vorraum zur Königsloge statt.
Zu beachten: Sitzplätze nur begrenzt vorhanden, Dauer ca. 20 Min, Mindestabstand in Eigenverantwortung der Besucher:innen

Conductor	Vladimir Jurowski
Production	Kirill Serebrennikov
Artistic Consultant	Evgeny Kulagin
Set Design	Olga Pavluk
Costume Design	Tatyana Dolmatovskaya
Masks	Shalva Nikvashvili
Lighting	Michael Bauer
Video	Alexey Fokin Alan Mandelshtam
Musical Preparation	Daniil Orlov
Choruses	Stellario Fagone
Dramaturgy	Katja Leclerc

Platon Kusmič Kovaljov	Boris Pinkhasovich
Ivan Jakovlevič	Sergei Leiferkus
Praskovja Osipovna	Laura Aikin
Reviervorsteher der Polizei	Andrey Popov
Ivan	Sergey Skorokhodov
Die Nase	Anton Rositskiy
Lakai der Gräfin	Sean Michael Plumb
Beamter der Annoncenredaktion	Gennady Bezzubenkov
1. Hausknecht	Martin Snell
2. Hausknecht	Piotr Micinski
3. Hausknecht	Milan Siljanov
4. Hausknecht	Bálint Szabó
5. Hausknecht	Andrew Hamilton
6. Hausknecht	Theodore Platt
7. Hausknecht	Andrew Gilstrap
8. Hausknecht	Roman Chabaranok
1. Polizist	Roman Chabaranok
2. Polizist	Tansel Akzeybek
3. Polizist	Piotr Micinski
4. Polizist	Milan Siljanov
5. Polizist	Alexander Fedorov
6. Polizist	Andrew Gilstrap
7. Polizist	Armando Elizondo
8. Polizist	Granit Musliu
9. Polizist	Vasily Efimov
10. Polizist	Martin Snell
Vater	Gennady Bezzubenkov
Mutter	Laura Aikin
1. Sohn	Sergey Skorokhodov
2. Sohn	Theodore Platt
Pjotr Fjodorovič	Ulrich Reß
Ivan Ivanovič	Sean Michael Plumb
Alte ehrwürdige Dame	Doris Soffel
Händlerin	Eliza Boom
Arzt	Gennady Bezzubenkov
Jarischkin, ein Freund des Kovaljov	Tansel Akzeybek
Podtočina Pelageja Grigorjevna	Alexandra Durseneva
Ihre Tochter	Mirjam Mesak
1. Herr	Tansel Akzeybek
2. Herr	Alexander Fedorov
3. Herr	Granit Musliu
4. Herr	Martin Snell
5. Herr	Roman Chabaranok
6. Herr	Andrew Gilstrap
7. Herr	Vasily Efimov
Ein alter Mann	Anton Rositskiy
1. Neuankömmling	Anton Rositskiy
2. Neuankömmling	Gennady Bezzubenkov
Spekulant	Milan Siljanov
Verdienter Oberst	Anton Rositskiy
1. Geck	Alexander Fedorov
2. Geck	Piotr Micinski
1. Student	Tansel Akzeybek
2. Student	Granit Musliu
3. Student	Theodore Platt
4. Student	Bálint Szabó
5. Student	Vasily Efimov
6. Student	Armando Elizondo
7. Student	Ulrich Reß
8. Student	Sean Michael Plumb
1. Bekannter Kovaljovs	Martin Snell
Ein anderer Bekannter Kovaljovs	Ulrich Reß
3. Bekannter Kovaljovs	Piotr Micinski
Wächter	Bálint Szabó
Heiduck	Bálint Szabó
Pförtner des Polizeichefs	Anton Rositskiy
Droschkenkutscher	Bálint Szabó
Kutscher	Bálint Szabó
Sopransolo (Kasaner Kathedrale)	Mirjam Mesak
Tenorsolo (Kasaner Kathedrale)	Sergey Skorokhodov
Eunuchen	Meili Li Matthias Dähling Changhoun Eo Brennan Hall Kiuk Kim Aleksandar Timotic

Bayerisches Staatsorchester

A nose goes independent. It leaves an embarrassing empty space on its owner’s face, arrogates a social position for itself and struts in its State Councillor uniform along Nevsky Avenue in Saint Petersburg. Its tattered owner, Kovalyov, loses himself in a ludicrous search for his status symbol.

The 21-year-old Shostakovich’s first opera is a searing critique of post-Tsarist Russia, shaken by world war, bloody civil war and rising state terror. The image of a brutal society filled with physically and spiritually distorted moral cowards and perpetrators of violence is musically captured in the grotesque interchange of the most diverse style levels – circus music and Russian-orthodox church music, gallops, polkas, marches and fugues are intercut in filmic radicalism. Behind the caustic wit lurk fear and violence.

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