october 15oct7:30 pmOpéra national de Paris - Massenet: Le Rouge et le Noir In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the more In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the world of the aristocracy and finds himself at the very heart of the struggle for power. The Red and the Black is the story of a tumultuous life in which love proves to be the most dangerous of passions. Madame de Rênal and Mathilde de La Mole lead the protagonist through the twists and intrigues of a 19th century in which desire, politics and religion form the backdrop for a brilliant character study. In sumptuous sets and costumes which he himself has conceived, Pierre Lacotte, who reconstituted La Sylphide, Paquita and Coppélia, now offers us an entirely new creation based on Stendhal’s novel of the same name, accompanied by a musical anthology from Jules Massenet. Jonathan Darlington, conductor Choreographer, Design and Costumes: Pierre Lacotte Cast: Madame de Rënal : Mathilde de la Môle : Elisa : Monsieur de Rënal : L’Abbé Chélan : L’Abbé Castanede : La Maréchale de Fervaques : La Marquise de la Môle : Le Comte Altamira : Le Marquis de Croisenois : Madame Derville : (Friday) 7:30 pm Palais Garnier Place de l'Opéra, 75009 Paris, France 16oct7:30 pmOpéra national de Paris - Massenet: Le Rouge et le Noir In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the more In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the world of the aristocracy and finds himself at the very heart of the struggle for power. The Red and the Black is the story of a tumultuous life in which love proves to be the most dangerous of passions. Madame de Rênal and Mathilde de La Mole lead the protagonist through the twists and intrigues of a 19th century in which desire, politics and religion form the backdrop for a brilliant character study. In sumptuous sets and costumes which he himself has conceived, Pierre Lacotte, who reconstituted La Sylphide, Paquita and Coppélia, now offers us an entirely new creation based on Stendhal’s novel of the same name, accompanied by a musical anthology from Jules Massenet. Jonathan Darlington, conductor Choreographer, Design and Costumes: Pierre Lacotte Cast: Madame de Rënal : Mathilde de la Môle : Elisa : Monsieur de Rënal : L’Abbé Chélan : L’Abbé Castanede : La Maréchale de Fervaques : La Marquise de la Môle : Le Comte Altamira : Le Marquis de Croisenois : Madame Derville : (Saturday) 7:30 pm Palais Garnier Place de l'Opéra, 75009 Paris, France 18oct7:30 pmOpéra national de Paris - Massenet: Le Rouge et le Noir In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the more In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the world of the aristocracy and finds himself at the very heart of the struggle for power. The Red and the Black is the story of a tumultuous life in which love proves to be the most dangerous of passions. Madame de Rênal and Mathilde de La Mole lead the protagonist through the twists and intrigues of a 19th century in which desire, politics and religion form the backdrop for a brilliant character study. In sumptuous sets and costumes which he himself has conceived, Pierre Lacotte, who reconstituted La Sylphide, Paquita and Coppélia, now offers us an entirely new creation based on Stendhal’s novel of the same name, accompanied by a musical anthology from Jules Massenet. Jonathan Darlington, conductor Choreographer, Design and Costumes: Pierre Lacotte Cast: Madame de Rënal : Mathilde de la Môle : Elisa : Monsieur de Rënal : L’Abbé Chélan : L’Abbé Castanede : La Maréchale de Fervaques : La Marquise de la Môle : Le Comte Altamira : Le Marquis de Croisenois : Madame Derville : (Monday) 7:30 pm Palais Garnier Place de l'Opéra, 75009 Paris, France 19oct7:30 pmOpéra national de Paris - Massenet: Le Rouge et le Noir In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the more In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the world of the aristocracy and finds himself at the very heart of the struggle for power. The Red and the Black is the story of a tumultuous life in which love proves to be the most dangerous of passions. Madame de Rênal and Mathilde de La Mole lead the protagonist through the twists and intrigues of a 19th century in which desire, politics and religion form the backdrop for a brilliant character study. In sumptuous sets and costumes which he himself has conceived, Pierre Lacotte, who reconstituted La Sylphide, Paquita and Coppélia, now offers us an entirely new creation based on Stendhal’s novel of the same name, accompanied by a musical anthology from Jules Massenet. Jonathan Darlington, conductor Choreographer, Design and Costumes: Pierre Lacotte Cast: Madame de Rënal : Mathilde de la Môle : Elisa : Monsieur de Rënal : L’Abbé Chélan : L’Abbé Castanede : La Maréchale de Fervaques : La Marquise de la Môle : Le Comte Altamira : Le Marquis de Croisenois : Madame Derville : (Tuesday) 7:30 pm Palais Garnier Place de l'Opéra, 75009 Paris, France 20oct7:30 pmOpéra national de Paris - Massenet: Le Rouge et le Noir In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the more In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the world of the aristocracy and finds himself at the very heart of the struggle for power. The Red and the Black is the story of a tumultuous life in which love proves to be the most dangerous of passions. Madame de Rênal and Mathilde de La Mole lead the protagonist through the twists and intrigues of a 19th century in which desire, politics and religion form the backdrop for a brilliant character study. In sumptuous sets and costumes which he himself has conceived, Pierre Lacotte, who reconstituted La Sylphide, Paquita and Coppélia, now offers us an entirely new creation based on Stendhal’s novel of the same name, accompanied by a musical anthology from Jules Massenet. Jonathan Darlington, conductor Choreographer, Design and Costumes: Pierre Lacotte Cast: Madame de Rënal : Mathilde de la Môle : Elisa : Monsieur de Rënal : L’Abbé Chélan : L’Abbé Castanede : La Maréchale de Fervaques : La Marquise de la Môle : Le Comte Altamira : Le Marquis de Croisenois : Madame Derville : (Wednesday) 7:30 pm Palais Garnier Place de l'Opéra, 75009 Paris, France 21oct7:30 pmOpéra national de Paris - Massenet: Le Rouge et le Noir In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the more In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the world of the aristocracy and finds himself at the very heart of the struggle for power. The Red and the Black is the story of a tumultuous life in which love proves to be the most dangerous of passions. Madame de Rênal and Mathilde de La Mole lead the protagonist through the twists and intrigues of a 19th century in which desire, politics and religion form the backdrop for a brilliant character study. In sumptuous sets and costumes which he himself has conceived, Pierre Lacotte, who reconstituted La Sylphide, Paquita and Coppélia, now offers us an entirely new creation based on Stendhal’s novel of the same name, accompanied by a musical anthology from Jules Massenet. Jonathan Darlington, conductor Choreographer, Design and Costumes: Pierre Lacotte Cast: Madame de Rënal : Mathilde de la Môle : Elisa : Monsieur de Rënal : L’Abbé Chélan : L’Abbé Castanede : La Maréchale de Fervaques : La Marquise de la Môle : Le Comte Altamira : Le Marquis de Croisenois : Madame Derville : (Thursday) 7:30 pm Palais Garnier Place de l'Opéra, 75009 Paris, France 23oct7:30 pmOpéra national de Paris - Massenet: Le Rouge et le Noir In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the more In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the world of the aristocracy and finds himself at the very heart of the struggle for power. The Red and the Black is the story of a tumultuous life in which love proves to be the most dangerous of passions. Madame de Rênal and Mathilde de La Mole lead the protagonist through the twists and intrigues of a 19th century in which desire, politics and religion form the backdrop for a brilliant character study. In sumptuous sets and costumes which he himself has conceived, Pierre Lacotte, who reconstituted La Sylphide, Paquita and Coppélia, now offers us an entirely new creation based on Stendhal’s novel of the same name, accompanied by a musical anthology from Jules Massenet. Jonathan Darlington, conductor Choreographer, Design and Costumes: Pierre Lacotte Cast: Madame de Rënal : Mathilde de la Môle : Elisa : Monsieur de Rënal : L’Abbé Chélan : L’Abbé Castanede : La Maréchale de Fervaques : La Marquise de la Môle : Le Comte Altamira : Le Marquis de Croisenois : Madame Derville : (Saturday) 7:30 pm Palais Garnier Place de l'Opéra, 75009 Paris, France 24oct7:30 pmOpéra national de Paris - Massenet: Le Rouge et le Noir In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the more In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the world of the aristocracy and finds himself at the very heart of the struggle for power. The Red and the Black is the story of a tumultuous life in which love proves to be the most dangerous of passions. Madame de Rênal and Mathilde de La Mole lead the protagonist through the twists and intrigues of a 19th century in which desire, politics and religion form the backdrop for a brilliant character study. In sumptuous sets and costumes which he himself has conceived, Pierre Lacotte, who reconstituted La Sylphide, Paquita and Coppélia, now offers us an entirely new creation based on Stendhal’s novel of the same name, accompanied by a musical anthology from Jules Massenet. Jonathan Darlington, conductor Choreographer, Design and Costumes: Pierre Lacotte Cast: Madame de Rënal : Mathilde de la Môle : Elisa : Monsieur de Rënal : L’Abbé Chélan : L’Abbé Castanede : La Maréchale de Fervaques : La Marquise de la Môle : Le Comte Altamira : Le Marquis de Croisenois : Madame Derville : (Sunday) 7:30 pm Palais Garnier Place de l'Opéra, 75009 Paris, France 27oct7:30 pmOpéra national de Paris - Massenet: Le Rouge et le Noir In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the more In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the world of the aristocracy and finds himself at the very heart of the struggle for power. The Red and the Black is the story of a tumultuous life in which love proves to be the most dangerous of passions. Madame de Rênal and Mathilde de La Mole lead the protagonist through the twists and intrigues of a 19th century in which desire, politics and religion form the backdrop for a brilliant character study. In sumptuous sets and costumes which he himself has conceived, Pierre Lacotte, who reconstituted La Sylphide, Paquita and Coppélia, now offers us an entirely new creation based on Stendhal’s novel of the same name, accompanied by a musical anthology from Jules Massenet. Jonathan Darlington, conductor Choreographer, Design and Costumes: Pierre Lacotte Cast: Madame de Rënal : Mathilde de la Môle : Elisa : Monsieur de Rënal : L’Abbé Chélan : L’Abbé Castanede : La Maréchale de Fervaques : La Marquise de la Môle : Le Comte Altamira : Le Marquis de Croisenois : Madame Derville : (Wednesday) 7:30 pm Palais Garnier Place de l'Opéra, 75009 Paris, France 28oct7:30 pmOpéra national de Paris - Massenet: Le Rouge et le Noir In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the more In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the world of the aristocracy and finds himself at the very heart of the struggle for power. The Red and the Black is the story of a tumultuous life in which love proves to be the most dangerous of passions. Madame de Rênal and Mathilde de La Mole lead the protagonist through the twists and intrigues of a 19th century in which desire, politics and religion form the backdrop for a brilliant character study. In sumptuous sets and costumes which he himself has conceived, Pierre Lacotte, who reconstituted La Sylphide, Paquita and Coppélia, now offers us an entirely new creation based on Stendhal’s novel of the same name, accompanied by a musical anthology from Jules Massenet. Jonathan Darlington, conductor Choreographer, Design and Costumes: Pierre Lacotte Cast: Madame de Rënal : Mathilde de la Môle : Elisa : Monsieur de Rënal : L’Abbé Chélan : L’Abbé Castanede : La Maréchale de Fervaques : La Marquise de la Môle : Le Comte Altamira : Le Marquis de Croisenois : Madame Derville : (Thursday) 7:30 pm Palais Garnier Place de l'Opéra, 75009 Paris, France 29oct7:30 pmOpéra national de Paris - Massenet: Le Rouge et le Noir In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the more In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the world of the aristocracy and finds himself at the very heart of the struggle for power. The Red and the Black is the story of a tumultuous life in which love proves to be the most dangerous of passions. Madame de Rênal and Mathilde de La Mole lead the protagonist through the twists and intrigues of a 19th century in which desire, politics and religion form the backdrop for a brilliant character study. In sumptuous sets and costumes which he himself has conceived, Pierre Lacotte, who reconstituted La Sylphide, Paquita and Coppélia, now offers us an entirely new creation based on Stendhal’s novel of the same name, accompanied by a musical anthology from Jules Massenet. Jonathan Darlington, conductor Choreographer, Design and Costumes: Pierre Lacotte Cast: Madame de Rënal : Mathilde de la Môle : Elisa : Monsieur de Rënal : L’Abbé Chélan : L’Abbé Castanede : La Maréchale de Fervaques : La Marquise de la Môle : Le Comte Altamira : Le Marquis de Croisenois : Madame Derville : (Friday) 7:30 pm Palais Garnier Place de l'Opéra, 75009 Paris, France 30oct7:30 pmOpéra national de Paris - Massenet: Le Rouge et le Noir In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the more In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the world of the aristocracy and finds himself at the very heart of the struggle for power. The Red and the Black is the story of a tumultuous life in which love proves to be the most dangerous of passions. Madame de Rênal and Mathilde de La Mole lead the protagonist through the twists and intrigues of a 19th century in which desire, politics and religion form the backdrop for a brilliant character study. In sumptuous sets and costumes which he himself has conceived, Pierre Lacotte, who reconstituted La Sylphide, Paquita and Coppélia, now offers us an entirely new creation based on Stendhal’s novel of the same name, accompanied by a musical anthology from Jules Massenet. Jonathan Darlington, conductor Choreographer, Design and Costumes: Pierre Lacotte Cast: Madame de Rënal : Mathilde de la Môle : Elisa : Monsieur de Rënal : L’Abbé Chélan : L’Abbé Castanede : La Maréchale de Fervaques : La Marquise de la Môle : Le Comte Altamira : Le Marquis de Croisenois : Madame Derville : (Saturday) 7:30 pm Palais Garnier Place de l'Opéra, 75009 Paris, France november 02nov7:30 pmOpéra national de Paris - Massenet: Le Rouge et le Noir In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the more In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the world of the aristocracy and finds himself at the very heart of the struggle for power. The Red and the Black is the story of a tumultuous life in which love proves to be the most dangerous of passions. Madame de Rênal and Mathilde de La Mole lead the protagonist through the twists and intrigues of a 19th century in which desire, politics and religion form the backdrop for a brilliant character study. In sumptuous sets and costumes which he himself has conceived, Pierre Lacotte, who reconstituted La Sylphide, Paquita and Coppélia, now offers us an entirely new creation based on Stendhal’s novel of the same name, accompanied by a musical anthology from Jules Massenet. Jonathan Darlington, conductor Choreographer, Design and Costumes: Pierre Lacotte Cast: Madame de Rënal : Mathilde de la Môle : Elisa : Monsieur de Rënal : L’Abbé Chélan : L’Abbé Castanede : La Maréchale de Fervaques : La Marquise de la Môle : Le Comte Altamira : Le Marquis de Croisenois : Madame Derville : (Tuesday) 7:30 pm Palais Garnier Place de l'Opéra, 75009 Paris, France 03nov7:30 pmOpéra national de Paris - Massenet: Le Rouge et le Noir In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the more In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the world of the aristocracy and finds himself at the very heart of the struggle for power. The Red and the Black is the story of a tumultuous life in which love proves to be the most dangerous of passions. Madame de Rênal and Mathilde de La Mole lead the protagonist through the twists and intrigues of a 19th century in which desire, politics and religion form the backdrop for a brilliant character study. In sumptuous sets and costumes which he himself has conceived, Pierre Lacotte, who reconstituted La Sylphide, Paquita and Coppélia, now offers us an entirely new creation based on Stendhal’s novel of the same name, accompanied by a musical anthology from Jules Massenet. Jonathan Darlington, conductor Choreographer, Design and Costumes: Pierre Lacotte Cast: Madame de Rënal : Mathilde de la Môle : Elisa : Monsieur de Rënal : L’Abbé Chélan : L’Abbé Castanede : La Maréchale de Fervaques : La Marquise de la Môle : Le Comte Altamira : Le Marquis de Croisenois : Madame Derville : (Wednesday) 7:30 pm Palais Garnier Place de l'Opéra, 75009 Paris, France 04nov7:30 pmOpéra national de Paris - Massenet: Le Rouge et le Noir In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the more In the 1830s, during the period of the Restauration, Julien Sorel, an irresistible young 18-year‑old, experiences a meteoric rise. A protégé of the abbé Chélan, he gains access to the world of the aristocracy and finds himself at the very heart of the struggle for power. The Red and the Black is the story of a tumultuous life in which love proves to be the most dangerous of passions. Madame de Rênal and Mathilde de La Mole lead the protagonist through the twists and intrigues of a 19th century in which desire, politics and religion form the backdrop for a brilliant character study. In sumptuous sets and costumes which he himself has conceived, Pierre Lacotte, who reconstituted La Sylphide, Paquita and Coppélia, now offers us an entirely new creation based on Stendhal’s novel of the same name, accompanied by a musical anthology from Jules Massenet. Jonathan Darlington, conductor Choreographer, Design and Costumes: Pierre Lacotte Cast: Madame de Rënal : Mathilde de la Môle : Elisa : Monsieur de Rënal : L’Abbé Chélan : L’Abbé Castanede : La Maréchale de Fervaques : La Marquise de la Môle : Le Comte Altamira : Le Marquis de Croisenois : Madame Derville : (Thursday) 7:30 pm Palais Garnier Place de l'Opéra, 75009 Paris, France 28nov2:00 pmDresden Semperoper - Mozart: Die Zauberflöte In answer to Tamino’s question about who he is, Papageno says »A man like you«. Tamino’s reply to the counter-question is that he comes from »princely blood«. Thus it is more In answer to Tamino’s question about who he is, Papageno says »A man like you«. Tamino’s reply to the counter-question is that he comes from »princely blood«. Thus it is clear from the word go that while the bird-catcher Papageno has true humanity, this is something still lacking in Tamino. While this goal is truly noble, the pathway to achieving it is humorous, playful and, one could say, humane. As described by the libretto, the protagonists undergo various trials, encounter hell’s vengeance and the sweetest love, meet dancing animals and child-spirits, until Tamino and Pagageno finally reach their happy goal. On the one hand, Wolfgang Amadeus Mozart’s last opera »The Magic Flute«, which premiered in Vienna in 1791, follows the venerable tradition of Viennese magical theatre. On the other hand, Mozart and his librettist Emanuel Schikaneder were also inspired by the Enlightenment ideas of the Freemasons to create a blend of crazy buffoonery and Masonic symbolism, striking misogyny and the deepest humanity, all infused with heavenly music. These elements make »The Magic Flute« the successful opera that has been enjoyed by each generation and is still beloved today. »Ein Mensch, wie du«, antwortet Papageno auf die Frage Taminos, wer er sei. Tamino antwortet auf die Gegenfrage, dass er »aus fürstlichem Geblüte« stammt. So wird gleich zu Beginn deutlich, dass der Vogelfänger Papageno bereits das ist, was Tamino erst noch werden muss: ein Mensch. Humanität heißt also das Ziel. Und so hehr das Ziel, so humorvoll-menschlich-spielerisch ist der Weg dorthin. Den beschreibt das Libretto mit vielen Prüfungen, mit der Hölle Rache und der süßesten Liebe, mit tanzenden Tieren und wundersamen Knaben bis Tamino und Pagageno schließlich ihr Ziel glücklich erreichen. »Die Zauberflöte«, 1791 in Wien als letzte Oper Wolfgang Amadeus Mozarts uraufgeführt, steht einerseits ganz in der Tradition des Alt-Wiener Zaubertheaters. Andererseits ließen sich Mozart und sein Librettist Emanuel Schikaneder auch vom aufklärerischen Gedankengut der Freimaurer inspirieren; und schufen so eine Mischung aus Kasperl-Unsinn und Freimaurer-Tiefsinn, unzeitgemäßer Misogynie und tiefster Menschlichkeit mit schlichtweg himmlischer Musik, die »Die Zauberflöte« zu der generationenübergreifenden Erfolgsoper werden ließ, die sie heute noch ist. Conductor Jonathan Darlington Cast Sächsischer Staatsopernchor Dresden (Sunday) 2:00 pm Semperoper Dresden 28nov7:00 pmDresden Semperoper - Mozart: Die Zauberflöte In answer to Tamino’s question about who he is, Papageno says »A man like you«. Tamino’s reply to the counter-question is that he comes from »princely blood«. Thus it is more In answer to Tamino’s question about who he is, Papageno says »A man like you«. Tamino’s reply to the counter-question is that he comes from »princely blood«. Thus it is clear from the word go that while the bird-catcher Papageno has true humanity, this is something still lacking in Tamino. While this goal is truly noble, the pathway to achieving it is humorous, playful and, one could say, humane. As described by the libretto, the protagonists undergo various trials, encounter hell’s vengeance and the sweetest love, meet dancing animals and child-spirits, until Tamino and Pagageno finally reach their happy goal. On the one hand, Wolfgang Amadeus Mozart’s last opera »The Magic Flute«, which premiered in Vienna in 1791, follows the venerable tradition of Viennese magical theatre. On the other hand, Mozart and his librettist Emanuel Schikaneder were also inspired by the Enlightenment ideas of the Freemasons to create a blend of crazy buffoonery and Masonic symbolism, striking misogyny and the deepest humanity, all infused with heavenly music. These elements make »The Magic Flute« the successful opera that has been enjoyed by each generation and is still beloved today. »Ein Mensch, wie du«, antwortet Papageno auf die Frage Taminos, wer er sei. Tamino antwortet auf die Gegenfrage, dass er »aus fürstlichem Geblüte« stammt. So wird gleich zu Beginn deutlich, dass der Vogelfänger Papageno bereits das ist, was Tamino erst noch werden muss: ein Mensch. Humanität heißt also das Ziel. Und so hehr das Ziel, so humorvoll-menschlich-spielerisch ist der Weg dorthin. Den beschreibt das Libretto mit vielen Prüfungen, mit der Hölle Rache und der süßesten Liebe, mit tanzenden Tieren und wundersamen Knaben bis Tamino und Pagageno schließlich ihr Ziel glücklich erreichen. »Die Zauberflöte«, 1791 in Wien als letzte Oper Wolfgang Amadeus Mozarts uraufgeführt, steht einerseits ganz in der Tradition des Alt-Wiener Zaubertheaters. Andererseits ließen sich Mozart und sein Librettist Emanuel Schikaneder auch vom aufklärerischen Gedankengut der Freimaurer inspirieren; und schufen so eine Mischung aus Kasperl-Unsinn und Freimaurer-Tiefsinn, unzeitgemäßer Misogynie und tiefster Menschlichkeit mit schlichtweg himmlischer Musik, die »Die Zauberflöte« zu der generationenübergreifenden Erfolgsoper werden ließ, die sie heute noch ist. Conductor Jonathan Darlington Cast Sächsischer Staatsopernchor Dresden (Sunday) 7:00 pm Semperoper Dresden 30nov7:00 pmDresden Semperoper - Mozart: Die Zauberflöte In answer to Tamino’s question about who he is, Papageno says »A man like you«. Tamino’s reply to the counter-question is that he comes from »princely blood«. Thus it is more In answer to Tamino’s question about who he is, Papageno says »A man like you«. Tamino’s reply to the counter-question is that he comes from »princely blood«. Thus it is clear from the word go that while the bird-catcher Papageno has true humanity, this is something still lacking in Tamino. While this goal is truly noble, the pathway to achieving it is humorous, playful and, one could say, humane. As described by the libretto, the protagonists undergo various trials, encounter hell’s vengeance and the sweetest love, meet dancing animals and child-spirits, until Tamino and Pagageno finally reach their happy goal. On the one hand, Wolfgang Amadeus Mozart’s last opera »The Magic Flute«, which premiered in Vienna in 1791, follows the venerable tradition of Viennese magical theatre. On the other hand, Mozart and his librettist Emanuel Schikaneder were also inspired by the Enlightenment ideas of the Freemasons to create a blend of crazy buffoonery and Masonic symbolism, striking misogyny and the deepest humanity, all infused with heavenly music. These elements make »The Magic Flute« the successful opera that has been enjoyed by each generation and is still beloved today. »Ein Mensch, wie du«, antwortet Papageno auf die Frage Taminos, wer er sei. Tamino antwortet auf die Gegenfrage, dass er »aus fürstlichem Geblüte« stammt. So wird gleich zu Beginn deutlich, dass der Vogelfänger Papageno bereits das ist, was Tamino erst noch werden muss: ein Mensch. Humanität heißt also das Ziel. Und so hehr das Ziel, so humorvoll-menschlich-spielerisch ist der Weg dorthin. Den beschreibt das Libretto mit vielen Prüfungen, mit der Hölle Rache und der süßesten Liebe, mit tanzenden Tieren und wundersamen Knaben bis Tamino und Pagageno schließlich ihr Ziel glücklich erreichen. »Die Zauberflöte«, 1791 in Wien als letzte Oper Wolfgang Amadeus Mozarts uraufgeführt, steht einerseits ganz in der Tradition des Alt-Wiener Zaubertheaters. Andererseits ließen sich Mozart und sein Librettist Emanuel Schikaneder auch vom aufklärerischen Gedankengut der Freimaurer inspirieren; und schufen so eine Mischung aus Kasperl-Unsinn und Freimaurer-Tiefsinn, unzeitgemäßer Misogynie und tiefster Menschlichkeit mit schlichtweg himmlischer Musik, die »Die Zauberflöte« zu der generationenübergreifenden Erfolgsoper werden ließ, die sie heute noch ist. Conductor Jonathan Darlington Cast Sächsischer Staatsopernchor Dresden (Tuesday) 7:00 pm Semperoper Dresden december 02dec7:00 pmDresden Semperoper - Puccini: La bohème A shared flat in Paris’s bohemian world of artists and students: The lives of the poet Rodolfo and his friends are filled with talk of freedom, independence, art, as well more A shared flat in Paris’s bohemian world of artists and students: The lives of the poet Rodolfo and his friends are filled with talk of freedom, independence, art, as well as financial hardship. When Rodolfo falls in love with his neighbour Mimì, everything seems to have taken a turn for the better, but poverty and Mimì’s illness overshadow the relationship. The young couple become closely attached. Later they separate, only rediscovering their love when it is already too late. At the time of its premiere in 1896, Puccini’s best-known work broke new ground in Italian opera through its prosaic scenery and everyday subject matter. This staging by Christine Mielitz of Puccini’s fourth opera is one of the most popular productions at the Semperoper. Eine Bohème-WG in den Pariser Künstler- und Studentenkreisen: Zwischen Freiheit, Unabhängigkeit, Kunst und finanziellen Nöten schlagen sich der Dichter Rodolfo und seine Freunde durchs Leben. Als sich Rodolfo in die Nachbarin Mimì verliebt, scheint sich zunächst alles zum Besseren zu wenden, aber Armut und Mimìs Krankheit überschatten die Beziehung. Die beiden kommen sich näher, trennen sich wieder und finden sich schließlich erst, als es schon zu spät ist. Die wohl bekannteste Oper Puccinis bot zur Zeit ihrer Uraufführung 1896 durch die intime Szenerie und das alltägliche Sujet ein Novum in der italienischen Oper. In der Inszenierung von Regisseurin Christine Mielitz zählt Puccinis vierte Oper zu den beliebtesten Repertoireklassikern der Semperoper Dresden. Conductor Jonathan Darlington Cast Sächsischer Staatsopernchor Dresden (Thursday) 7:00 pm Semperoper Dresden 06dec7:00 pmDresden Semperoper - Puccini: La bohème A shared flat in Paris’s bohemian world of artists and students: The lives of the poet Rodolfo and his friends are filled with talk of freedom, independence, art, as well more A shared flat in Paris’s bohemian world of artists and students: The lives of the poet Rodolfo and his friends are filled with talk of freedom, independence, art, as well as financial hardship. When Rodolfo falls in love with his neighbour Mimì, everything seems to have taken a turn for the better, but poverty and Mimì’s illness overshadow the relationship. The young couple become closely attached. Later they separate, only rediscovering their love when it is already too late. At the time of its premiere in 1896, Puccini’s best-known work broke new ground in Italian opera through its prosaic scenery and everyday subject matter. This staging by Christine Mielitz of Puccini’s fourth opera is one of the most popular productions at the Semperoper. Eine Bohème-WG in den Pariser Künstler- und Studentenkreisen: Zwischen Freiheit, Unabhängigkeit, Kunst und finanziellen Nöten schlagen sich der Dichter Rodolfo und seine Freunde durchs Leben. Als sich Rodolfo in die Nachbarin Mimì verliebt, scheint sich zunächst alles zum Besseren zu wenden, aber Armut und Mimìs Krankheit überschatten die Beziehung. Die beiden kommen sich näher, trennen sich wieder und finden sich schließlich erst, als es schon zu spät ist. Die wohl bekannteste Oper Puccinis bot zur Zeit ihrer Uraufführung 1896 durch die intime Szenerie und das alltägliche Sujet ein Novum in der italienischen Oper. In der Inszenierung von Regisseurin Christine Mielitz zählt Puccinis vierte Oper zu den beliebtesten Repertoireklassikern der Semperoper Dresden. Conductor Jonathan Darlington Cast Sächsischer Staatsopernchor Dresden (Monday) 7:00 pm Semperoper Dresden 11dec2:00 pmDresden Semperoper - Mozart: Die Zauberflöte In answer to Tamino’s question about who he is, Papageno says »A man like you«. Tamino’s reply to the counter-question is that he comes from »princely blood«. Thus it is more In answer to Tamino’s question about who he is, Papageno says »A man like you«. Tamino’s reply to the counter-question is that he comes from »princely blood«. Thus it is clear from the word go that while the bird-catcher Papageno has true humanity, this is something still lacking in Tamino. While this goal is truly noble, the pathway to achieving it is humorous, playful and, one could say, humane. As described by the libretto, the protagonists undergo various trials, encounter hell’s vengeance and the sweetest love, meet dancing animals and child-spirits, until Tamino and Pagageno finally reach their happy goal. On the one hand, Wolfgang Amadeus Mozart’s last opera »The Magic Flute«, which premiered in Vienna in 1791, follows the venerable tradition of Viennese magical theatre. On the other hand, Mozart and his librettist Emanuel Schikaneder were also inspired by the Enlightenment ideas of the Freemasons to create a blend of crazy buffoonery and Masonic symbolism, striking misogyny and the deepest humanity, all infused with heavenly music. These elements make »The Magic Flute« the successful opera that has been enjoyed by each generation and is still beloved today. »Ein Mensch, wie du«, antwortet Papageno auf die Frage Taminos, wer er sei. Tamino antwortet auf die Gegenfrage, dass er »aus fürstlichem Geblüte« stammt. So wird gleich zu Beginn deutlich, dass der Vogelfänger Papageno bereits das ist, was Tamino erst noch werden muss: ein Mensch. Humanität heißt also das Ziel. Und so hehr das Ziel, so humorvoll-menschlich-spielerisch ist der Weg dorthin. Den beschreibt das Libretto mit vielen Prüfungen, mit der Hölle Rache und der süßesten Liebe, mit tanzenden Tieren und wundersamen Knaben bis Tamino und Pagageno schließlich ihr Ziel glücklich erreichen. »Die Zauberflöte«, 1791 in Wien als letzte Oper Wolfgang Amadeus Mozarts uraufgeführt, steht einerseits ganz in der Tradition des Alt-Wiener Zaubertheaters. Andererseits ließen sich Mozart und sein Librettist Emanuel Schikaneder auch vom aufklärerischen Gedankengut der Freimaurer inspirieren; und schufen so eine Mischung aus Kasperl-Unsinn und Freimaurer-Tiefsinn, unzeitgemäßer Misogynie und tiefster Menschlichkeit mit schlichtweg himmlischer Musik, die »Die Zauberflöte« zu der generationenübergreifenden Erfolgsoper werden ließ, die sie heute noch ist. Conductor Jonathan Darlington Cast Sächsischer Staatsopernchor Dresden (Saturday) 2:00 pm Semperoper Dresden 11dec7:00 pmDresden Semperoper - Mozart: Die Zauberflöte In answer to Tamino’s question about who he is, Papageno says »A man like you«. Tamino’s reply to the counter-question is that he comes from »princely blood«. Thus it is more In answer to Tamino’s question about who he is, Papageno says »A man like you«. Tamino’s reply to the counter-question is that he comes from »princely blood«. Thus it is clear from the word go that while the bird-catcher Papageno has true humanity, this is something still lacking in Tamino. While this goal is truly noble, the pathway to achieving it is humorous, playful and, one could say, humane. As described by the libretto, the protagonists undergo various trials, encounter hell’s vengeance and the sweetest love, meet dancing animals and child-spirits, until Tamino and Pagageno finally reach their happy goal. On the one hand, Wolfgang Amadeus Mozart’s last opera »The Magic Flute«, which premiered in Vienna in 1791, follows the venerable tradition of Viennese magical theatre. On the other hand, Mozart and his librettist Emanuel Schikaneder were also inspired by the Enlightenment ideas of the Freemasons to create a blend of crazy buffoonery and Masonic symbolism, striking misogyny and the deepest humanity, all infused with heavenly music. These elements make »The Magic Flute« the successful opera that has been enjoyed by each generation and is still beloved today. »Ein Mensch, wie du«, antwortet Papageno auf die Frage Taminos, wer er sei. Tamino antwortet auf die Gegenfrage, dass er »aus fürstlichem Geblüte« stammt. So wird gleich zu Beginn deutlich, dass der Vogelfänger Papageno bereits das ist, was Tamino erst noch werden muss: ein Mensch. Humanität heißt also das Ziel. Und so hehr das Ziel, so humorvoll-menschlich-spielerisch ist der Weg dorthin. Den beschreibt das Libretto mit vielen Prüfungen, mit der Hölle Rache und der süßesten Liebe, mit tanzenden Tieren und wundersamen Knaben bis Tamino und Pagageno schließlich ihr Ziel glücklich erreichen. »Die Zauberflöte«, 1791 in Wien als letzte Oper Wolfgang Amadeus Mozarts uraufgeführt, steht einerseits ganz in der Tradition des Alt-Wiener Zaubertheaters. Andererseits ließen sich Mozart und sein Librettist Emanuel Schikaneder auch vom aufklärerischen Gedankengut der Freimaurer inspirieren; und schufen so eine Mischung aus Kasperl-Unsinn und Freimaurer-Tiefsinn, unzeitgemäßer Misogynie und tiefster Menschlichkeit mit schlichtweg himmlischer Musik, die »Die Zauberflöte« zu der generationenübergreifenden Erfolgsoper werden ließ, die sie heute noch ist. Conductor Jonathan Darlington Cast Sächsischer Staatsopernchor Dresden (Saturday) 7:00 pm Semperoper Dresden 13dec7:00 pmDresden Semperoper - Mozart: Die Zauberflöte In answer to Tamino’s question about who he is, Papageno says »A man like you«. Tamino’s reply to the counter-question is that he comes from »princely blood«. Thus it is more In answer to Tamino’s question about who he is, Papageno says »A man like you«. Tamino’s reply to the counter-question is that he comes from »princely blood«. Thus it is clear from the word go that while the bird-catcher Papageno has true humanity, this is something still lacking in Tamino. While this goal is truly noble, the pathway to achieving it is humorous, playful and, one could say, humane. As described by the libretto, the protagonists undergo various trials, encounter hell’s vengeance and the sweetest love, meet dancing animals and child-spirits, until Tamino and Pagageno finally reach their happy goal. On the one hand, Wolfgang Amadeus Mozart’s last opera »The Magic Flute«, which premiered in Vienna in 1791, follows the venerable tradition of Viennese magical theatre. On the other hand, Mozart and his librettist Emanuel Schikaneder were also inspired by the Enlightenment ideas of the Freemasons to create a blend of crazy buffoonery and Masonic symbolism, striking misogyny and the deepest humanity, all infused with heavenly music. These elements make »The Magic Flute« the successful opera that has been enjoyed by each generation and is still beloved today. »Ein Mensch, wie du«, antwortet Papageno auf die Frage Taminos, wer er sei. Tamino antwortet auf die Gegenfrage, dass er »aus fürstlichem Geblüte« stammt. So wird gleich zu Beginn deutlich, dass der Vogelfänger Papageno bereits das ist, was Tamino erst noch werden muss: ein Mensch. Humanität heißt also das Ziel. Und so hehr das Ziel, so humorvoll-menschlich-spielerisch ist der Weg dorthin. Den beschreibt das Libretto mit vielen Prüfungen, mit der Hölle Rache und der süßesten Liebe, mit tanzenden Tieren und wundersamen Knaben bis Tamino und Pagageno schließlich ihr Ziel glücklich erreichen. »Die Zauberflöte«, 1791 in Wien als letzte Oper Wolfgang Amadeus Mozarts uraufgeführt, steht einerseits ganz in der Tradition des Alt-Wiener Zaubertheaters. Andererseits ließen sich Mozart und sein Librettist Emanuel Schikaneder auch vom aufklärerischen Gedankengut der Freimaurer inspirieren; und schufen so eine Mischung aus Kasperl-Unsinn und Freimaurer-Tiefsinn, unzeitgemäßer Misogynie und tiefster Menschlichkeit mit schlichtweg himmlischer Musik, die »Die Zauberflöte« zu der generationenübergreifenden Erfolgsoper werden ließ, die sie heute noch ist. Conductor Jonathan Darlington Cast Sächsischer Staatsopernchor Dresden (Monday) 7:00 pm Semperoper Dresden 18dec7:00 pmDresden Semperoper - Puccini: La bohème A shared flat in Paris’s bohemian world of artists and students: The lives of the poet Rodolfo and his friends are filled with talk of freedom, independence, art, as well more A shared flat in Paris’s bohemian world of artists and students: The lives of the poet Rodolfo and his friends are filled with talk of freedom, independence, art, as well as financial hardship. When Rodolfo falls in love with his neighbour Mimì, everything seems to have taken a turn for the better, but poverty and Mimì’s illness overshadow the relationship. The young couple become closely attached. Later they separate, only rediscovering their love when it is already too late. At the time of its premiere in 1896, Puccini’s best-known work broke new ground in Italian opera through its prosaic scenery and everyday subject matter. This staging by Christine Mielitz of Puccini’s fourth opera is one of the most popular productions at the Semperoper. Eine Bohème-WG in den Pariser Künstler- und Studentenkreisen: Zwischen Freiheit, Unabhängigkeit, Kunst und finanziellen Nöten schlagen sich der Dichter Rodolfo und seine Freunde durchs Leben. Als sich Rodolfo in die Nachbarin Mimì verliebt, scheint sich zunächst alles zum Besseren zu wenden, aber Armut und Mimìs Krankheit überschatten die Beziehung. Die beiden kommen sich näher, trennen sich wieder und finden sich schließlich erst, als es schon zu spät ist. Die wohl bekannteste Oper Puccinis bot zur Zeit ihrer Uraufführung 1896 durch die intime Szenerie und das alltägliche Sujet ein Novum in der italienischen Oper. In der Inszenierung von Regisseurin Christine Mielitz zählt Puccinis vierte Oper zu den beliebtesten Repertoireklassikern der Semperoper Dresden. Conductor Jonathan Darlington Cast Sächsischer Staatsopernchor Dresden (Saturday) 7:00 pm Semperoper Dresden 22dec7:00 pm12:44 pmStaatsoper Hamburg - J. Strauss: Die Fledermaus
Wos is g’schen? Zwei Freunde gingen zu einem Maskenball. Am Ende der Nacht gönnte sich Rentier Eisenstein, alias der Schmetterling, einen Scherz und legte den betrunkenen Notar Dr. Falke, alias more Wos is g’schen? Zwei Freunde gingen zu einem Maskenball. Am Ende der Nacht gönnte sich Rentier Eisenstein, alias der Schmetterling, einen Scherz und legte den betrunkenen Notar Dr. Falke, alias die Fledermaus, im Wald ab – das Gelächter der Stadt hallte noch lange nach. Wos g’schiacht dann? Dr. Falke lädt Eisenstein, unmittelbar bevor dieser eine Arreststrafe antreten muss, zu einem rauschenden Fest ein: Mit Csárdás-Klängen, Uhren-Verführung und Champagnerflüssen nimmt die Rache der Fledermaus ihren Lauf. Jeder gibt vor, jemand anders zu sein und Eisenstein versucht sich an der schönen Unbekannten, die sich als seine Gattin entpuppt … Schon graut der Morgen, das Gefängnis ruft und mit ihm Tenor, Frosch und Ratten. Na Servus! Willkommen in der wunderbaren Welt der Wiener Operette! What happened? Two friends attended a masked ball. At the end of the night, the retiree Eisenstein, aka The Butterfly, played a prank on the notary Dr. Falke, aka The Bat (Die Fledermaus), leaving him in the woods while he was drunk – the city hadn’t laughed so well in a long time. What happens then? Just before Eisenstein is due to go to prison, Dr. Falke invites him to a roaring ball: with czardas sounds, clockwork seductions and rivers of champagne, the revenge of the Fledermaus takes its course. Everyone pretends to be someone else, and Eisenstein tries to seduce a beautiful stranger who turns out to be his own wife … Morning breaks, prison beckons and with it, tenor, Frosch and rats. “Na Servus”, as they say in Vienna – welcome to the wonderful world of Viennese operetta! Staging, Choreography, Sets and Costumes: Renaud Doucet and André Barbe (BARBE & DOUCET) Jonathan Darlington, conductor Philharmonisches Staatsorchester Hamburg (Wednesday) 7:00 pm - 12:44 pm 28dec7:00 pmStaatsoper Hamburg - J. Strauss: Die Fledermaus
Wos is g’schen? Zwei Freunde gingen zu einem Maskenball. Am Ende der Nacht gönnte sich Rentier Eisenstein, alias der Schmetterling, einen Scherz und legte den betrunkenen Notar Dr. Falke, alias more Wos is g’schen? Zwei Freunde gingen zu einem Maskenball. Am Ende der Nacht gönnte sich Rentier Eisenstein, alias der Schmetterling, einen Scherz und legte den betrunkenen Notar Dr. Falke, alias die Fledermaus, im Wald ab – das Gelächter der Stadt hallte noch lange nach. Wos g’schiacht dann? Dr. Falke lädt Eisenstein, unmittelbar bevor dieser eine Arreststrafe antreten muss, zu einem rauschenden Fest ein: Mit Csárdás-Klängen, Uhren-Verführung und Champagnerflüssen nimmt die Rache der Fledermaus ihren Lauf. Jeder gibt vor, jemand anders zu sein und Eisenstein versucht sich an der schönen Unbekannten, die sich als seine Gattin entpuppt … Schon graut der Morgen, das Gefängnis ruft und mit ihm Tenor, Frosch und Ratten. Na Servus! Willkommen in der wunderbaren Welt der Wiener Operette! What happened? Two friends attended a masked ball. At the end of the night, the retiree Eisenstein, aka The Butterfly, played a prank on the notary Dr. Falke, aka The Bat (Die Fledermaus), leaving him in the woods while he was drunk – the city hadn’t laughed so well in a long time. What happens then? Just before Eisenstein is due to go to prison, Dr. Falke invites him to a roaring ball: with czardas sounds, clockwork seductions and rivers of champagne, the revenge of the Fledermaus takes its course. Everyone pretends to be someone else, and Eisenstein tries to seduce a beautiful stranger who turns out to be his own wife … Morning breaks, prison beckons and with it, tenor, Frosch and rats. “Na Servus”, as they say in Vienna – welcome to the wonderful world of Viennese operetta! Staging, Choreography, Sets and Costumes: Renaud Doucet and André Barbe (BARBE & DOUCET) Jonathan Darlington, conductor Philharmonisches Staatsorchester Hamburg (Tuesday) 7:00 pm 31dec6:00 pmStaatsoper Hamburg - J. Strauss: Die Fledermaus Wos is g’schen? Zwei Freunde gingen zu einem Maskenball. Am Ende der Nacht gönnte sich Rentier Eisenstein, alias der Schmetterling, einen Scherz und legte den betrunkenen Notar Dr. Falke, alias more Wos is g’schen? Zwei Freunde gingen zu einem Maskenball. Am Ende der Nacht gönnte sich Rentier Eisenstein, alias der Schmetterling, einen Scherz und legte den betrunkenen Notar Dr. Falke, alias die Fledermaus, im Wald ab – das Gelächter der Stadt hallte noch lange nach. Wos g’schiacht dann? Dr. Falke lädt Eisenstein, unmittelbar bevor dieser eine Arreststrafe antreten muss, zu einem rauschenden Fest ein: Mit Csárdás-Klängen, Uhren-Verführung und Champagnerflüssen nimmt die Rache der Fledermaus ihren Lauf. Jeder gibt vor, jemand anders zu sein und Eisenstein versucht sich an der schönen Unbekannten, die sich als seine Gattin entpuppt … Schon graut der Morgen, das Gefängnis ruft und mit ihm Tenor, Frosch und Ratten. Na Servus! Willkommen in der wunderbaren Welt der Wiener Operette! What happened? Two friends attended a masked ball. At the end of the night, the retiree Eisenstein, aka The Butterfly, played a prank on the notary Dr. Falke, aka The Bat (Die Fledermaus), leaving him in the woods while he was drunk – the city hadn’t laughed so well in a long time. What happens then? Just before Eisenstein is due to go to prison, Dr. Falke invites him to a roaring ball: with czardas sounds, clockwork seductions and rivers of champagne, the revenge of the Fledermaus takes its course. Everyone pretends to be someone else, and Eisenstein tries to seduce a beautiful stranger who turns out to be his own wife … Morning breaks, prison beckons and with it, tenor, Frosch and rats. “Na Servus”, as they say in Vienna – welcome to the wonderful world of Viennese operetta! Staging, Choreography, Sets and Costumes: Renaud Doucet and André Barbe (BARBE & DOUCET) Jonathan Darlington, conductor Philharmonisches Staatsorchester Hamburg (Friday) 6:00 pm january 02jan5:00 pmStaatsoper Hamburg - J. Strauss: Die Fledermaus Wos is g’schen? Zwei Freunde gingen zu einem Maskenball. Am Ende der Nacht gönnte sich Rentier Eisenstein, alias der Schmetterling, einen Scherz und legte den betrunkenen Notar Dr. Falke, alias more Wos is g’schen? Zwei Freunde gingen zu einem Maskenball. Am Ende der Nacht gönnte sich Rentier Eisenstein, alias der Schmetterling, einen Scherz und legte den betrunkenen Notar Dr. Falke, alias die Fledermaus, im Wald ab – das Gelächter der Stadt hallte noch lange nach. Wos g’schiacht dann? Dr. Falke lädt Eisenstein, unmittelbar bevor dieser eine Arreststrafe antreten muss, zu einem rauschenden Fest ein: Mit Csárdás-Klängen, Uhren-Verführung und Champagnerflüssen nimmt die Rache der Fledermaus ihren Lauf. Jeder gibt vor, jemand anders zu sein und Eisenstein versucht sich an der schönen Unbekannten, die sich als seine Gattin entpuppt … Schon graut der Morgen, das Gefängnis ruft und mit ihm Tenor, Frosch und Ratten. Na Servus! Willkommen in der wunderbaren Welt der Wiener Operette! What happened? Two friends attended a masked ball. At the end of the night, the retiree Eisenstein, aka The Butterfly, played a prank on the notary Dr. Falke, aka The Bat (Die Fledermaus), leaving him in the woods while he was drunk – the city hadn’t laughed so well in a long time. What happens then? Just before Eisenstein is due to go to prison, Dr. Falke invites him to a roaring ball: with czardas sounds, clockwork seductions and rivers of champagne, the revenge of the Fledermaus takes its course. Everyone pretends to be someone else, and Eisenstein tries to seduce a beautiful stranger who turns out to be his own wife … Morning breaks, prison beckons and with it, tenor, Frosch and rats. “Na Servus”, as they say in Vienna – welcome to the wonderful world of Viennese operetta! Staging, Choreography, Sets and Costumes: Renaud Doucet and André Barbe (BARBE & DOUCET) Jonathan Darlington, conductor Philharmonisches Staatsorchester Hamburg (Sunday) 5:00 pm 04jan7:00 pmStaatsoper Hamburg - J. Strauss: Die Fledermaus Wos is g’schen? Zwei Freunde gingen zu einem Maskenball. Am Ende der Nacht gönnte sich Rentier Eisenstein, alias der Schmetterling, einen Scherz und legte den betrunkenen Notar Dr. Falke, alias more Wos is g’schen? Zwei Freunde gingen zu einem Maskenball. Am Ende der Nacht gönnte sich Rentier Eisenstein, alias der Schmetterling, einen Scherz und legte den betrunkenen Notar Dr. Falke, alias die Fledermaus, im Wald ab – das Gelächter der Stadt hallte noch lange nach. Wos g’schiacht dann? Dr. Falke lädt Eisenstein, unmittelbar bevor dieser eine Arreststrafe antreten muss, zu einem rauschenden Fest ein: Mit Csárdás-Klängen, Uhren-Verführung und Champagnerflüssen nimmt die Rache der Fledermaus ihren Lauf. Jeder gibt vor, jemand anders zu sein und Eisenstein versucht sich an der schönen Unbekannten, die sich als seine Gattin entpuppt … Schon graut der Morgen, das Gefängnis ruft und mit ihm Tenor, Frosch und Ratten. Na Servus! Willkommen in der wunderbaren Welt der Wiener Operette! What happened? Two friends attended a masked ball. At the end of the night, the retiree Eisenstein, aka The Butterfly, played a prank on the notary Dr. Falke, aka The Bat (Die Fledermaus), leaving him in the woods while he was drunk – the city hadn’t laughed so well in a long time. What happens then? Just before Eisenstein is due to go to prison, Dr. Falke invites him to a roaring ball: with czardas sounds, clockwork seductions and rivers of champagne, the revenge of the Fledermaus takes its course. Everyone pretends to be someone else, and Eisenstein tries to seduce a beautiful stranger who turns out to be his own wife … Morning breaks, prison beckons and with it, tenor, Frosch and rats. “Na Servus”, as they say in Vienna – welcome to the wonderful world of Viennese operetta! Staging, Choreography, Sets and Costumes: Renaud Doucet and André Barbe (BARBE & DOUCET) Jonathan Darlington, conductor Philharmonisches Staatsorchester Hamburg (Tuesday) 7:00 pm 12jan7:30 pmStaatsoper Hamburg - J. Strauss: Die Fledermaus Wos is g’schen? Zwei Freunde gingen zu einem Maskenball. Am Ende der Nacht gönnte sich Rentier Eisenstein, alias der Schmetterling, einen Scherz und legte den betrunkenen Notar Dr. Falke, alias more Wos is g’schen? Zwei Freunde gingen zu einem Maskenball. Am Ende der Nacht gönnte sich Rentier Eisenstein, alias der Schmetterling, einen Scherz und legte den betrunkenen Notar Dr. Falke, alias die Fledermaus, im Wald ab – das Gelächter der Stadt hallte noch lange nach. Wos g’schiacht dann? Dr. Falke lädt Eisenstein, unmittelbar bevor dieser eine Arreststrafe antreten muss, zu einem rauschenden Fest ein: Mit Csárdás-Klängen, Uhren-Verführung und Champagnerflüssen nimmt die Rache der Fledermaus ihren Lauf. Jeder gibt vor, jemand anders zu sein und Eisenstein versucht sich an der schönen Unbekannten, die sich als seine Gattin entpuppt … Schon graut der Morgen, das Gefängnis ruft und mit ihm Tenor, Frosch und Ratten. Na Servus! Willkommen in der wunderbaren Welt der Wiener Operette! What happened? Two friends attended a masked ball. At the end of the night, the retiree Eisenstein, aka The Butterfly, played a prank on the notary Dr. Falke, aka The Bat (Die Fledermaus), leaving him in the woods while he was drunk – the city hadn’t laughed so well in a long time. What happens then? Just before Eisenstein is due to go to prison, Dr. Falke invites him to a roaring ball: with czardas sounds, clockwork seductions and rivers of champagne, the revenge of the Fledermaus takes its course. Everyone pretends to be someone else, and Eisenstein tries to seduce a beautiful stranger who turns out to be his own wife … Morning breaks, prison beckons and with it, tenor, Frosch and rats. “Na Servus”, as they say in Vienna – welcome to the wonderful world of Viennese operetta! Staging, Choreography, Sets and Costumes: Renaud Doucet and André Barbe (BARBE & DOUCET) Jonathan Darlington, conductor Philharmonisches Staatsorchester Hamburg (Wednesday) 7:30 pm 14jan7:00 pmDresden Semperoper - Puccini: La bohème A shared flat in Paris’s bohemian world of artists and students: The lives of the poet Rodolfo and his friends are filled with talk of freedom, independence, art, as well more A shared flat in Paris’s bohemian world of artists and students: The lives of the poet Rodolfo and his friends are filled with talk of freedom, independence, art, as well as financial hardship. When Rodolfo falls in love with his neighbour Mimì, everything seems to have taken a turn for the better, but poverty and Mimì’s illness overshadow the relationship. The young couple become closely attached. Later they separate, only rediscovering their love when it is already too late. At the time of its premiere in 1896, Puccini’s best-known work broke new ground in Italian opera through its prosaic scenery and everyday subject matter. This staging by Christine Mielitz of Puccini’s fourth opera is one of the most popular productions at the Semperoper. Eine Bohème-WG in den Pariser Künstler- und Studentenkreisen: Zwischen Freiheit, Unabhängigkeit, Kunst und finanziellen Nöten schlagen sich der Dichter Rodolfo und seine Freunde durchs Leben. Als sich Rodolfo in die Nachbarin Mimì verliebt, scheint sich zunächst alles zum Besseren zu wenden, aber Armut und Mimìs Krankheit überschatten die Beziehung. Die beiden kommen sich näher, trennen sich wieder und finden sich schließlich erst, als es schon zu spät ist. Die wohl bekannteste Oper Puccinis bot zur Zeit ihrer Uraufführung 1896 durch die intime Szenerie und das alltägliche Sujet ein Novum in der italienischen Oper. In der Inszenierung von Regisseurin Christine Mielitz zählt Puccinis vierte Oper zu den beliebtesten Repertoireklassikern der Semperoper Dresden. Conductor Jonathan Darlington Cast Sächsischer Staatsopernchor Dresden (Friday) 7:00 pm Semperoper Dresden
Event Details
Event Details
Les Étoiles, les Premiers Danseurs et le Corps de Ballet de l’Opéra
Orchestre de l’Opéra national de Paris
Lighting: Madjid Hakimi
Julien Sorel :
Mathieu Ganio
Mathias Heymann
Germain Louvet
Hugo Marchand
Amandine Albisson
Hannah O’Neill
Dorothée Gilbert
Ludmila Pagliero
Léonore Baulac
Myriam Ould-Braham
Bianca Scudamore
Valentine Colasante
Eve Grinsztajn
Roxane Stojanov
Stéphane Bullion
Francesco Mura
Marc Moreau
Audric Bezard
Florian Magnenet
Pablo Legasa
Thomas Docquir
Antonio Conforti
Héloïse Bourdon
Eve Grinsztajn
Naïs Duboscq
Émilie Cozette
Camille de Bellefon
Yannick Bittencourt
Cyril Mitilian
Yann Chailloux
Mathieu Contat
Anémone Arnaud
Ninon RauxTime
Location
Event Details
Event Details
Les Étoiles, les Premiers Danseurs et le Corps de Ballet de l’Opéra
Orchestre de l’Opéra national de Paris
Lighting: Madjid Hakimi
Julien Sorel :
Mathieu Ganio
Mathias Heymann
Germain Louvet
Hugo Marchand
Amandine Albisson
Hannah O’Neill
Dorothée Gilbert
Ludmila Pagliero
Léonore Baulac
Myriam Ould-Braham
Bianca Scudamore
Valentine Colasante
Eve Grinsztajn
Roxane Stojanov
Stéphane Bullion
Francesco Mura
Marc Moreau
Audric Bezard
Florian Magnenet
Pablo Legasa
Thomas Docquir
Antonio Conforti
Héloïse Bourdon
Eve Grinsztajn
Naïs Duboscq
Émilie Cozette
Camille de Bellefon
Yannick Bittencourt
Cyril Mitilian
Yann Chailloux
Mathieu Contat
Anémone Arnaud
Ninon RauxTime
Location
Event Details
Event Details
Les Étoiles, les Premiers Danseurs et le Corps de Ballet de l’Opéra
Orchestre de l’Opéra national de Paris
Lighting: Madjid Hakimi
Julien Sorel :
Mathieu Ganio
Mathias Heymann
Germain Louvet
Hugo Marchand
Amandine Albisson
Hannah O’Neill
Dorothée Gilbert
Ludmila Pagliero
Léonore Baulac
Myriam Ould-Braham
Bianca Scudamore
Valentine Colasante
Eve Grinsztajn
Roxane Stojanov
Stéphane Bullion
Francesco Mura
Marc Moreau
Audric Bezard
Florian Magnenet
Pablo Legasa
Thomas Docquir
Antonio Conforti
Héloïse Bourdon
Eve Grinsztajn
Naïs Duboscq
Émilie Cozette
Camille de Bellefon
Yannick Bittencourt
Cyril Mitilian
Yann Chailloux
Mathieu Contat
Anémone Arnaud
Ninon RauxTime
Location
Event Details
Event Details
Les Étoiles, les Premiers Danseurs et le Corps de Ballet de l’Opéra
Orchestre de l’Opéra national de Paris
Lighting: Madjid Hakimi
Julien Sorel :
Mathieu Ganio
Mathias Heymann
Germain Louvet
Hugo Marchand
Amandine Albisson
Hannah O’Neill
Dorothée Gilbert
Ludmila Pagliero
Léonore Baulac
Myriam Ould-Braham
Bianca Scudamore
Valentine Colasante
Eve Grinsztajn
Roxane Stojanov
Stéphane Bullion
Francesco Mura
Marc Moreau
Audric Bezard
Florian Magnenet
Pablo Legasa
Thomas Docquir
Antonio Conforti
Héloïse Bourdon
Eve Grinsztajn
Naïs Duboscq
Émilie Cozette
Camille de Bellefon
Yannick Bittencourt
Cyril Mitilian
Yann Chailloux
Mathieu Contat
Anémone Arnaud
Ninon RauxTime
Location
Event Details
Event Details
Les Étoiles, les Premiers Danseurs et le Corps de Ballet de l’Opéra
Orchestre de l’Opéra national de Paris
Lighting: Madjid Hakimi
Julien Sorel :
Mathieu Ganio
Mathias Heymann
Germain Louvet
Hugo Marchand
Amandine Albisson
Hannah O’Neill
Dorothée Gilbert
Ludmila Pagliero
Léonore Baulac
Myriam Ould-Braham
Bianca Scudamore
Valentine Colasante
Eve Grinsztajn
Roxane Stojanov
Stéphane Bullion
Francesco Mura
Marc Moreau
Audric Bezard
Florian Magnenet
Pablo Legasa
Thomas Docquir
Antonio Conforti
Héloïse Bourdon
Eve Grinsztajn
Naïs Duboscq
Émilie Cozette
Camille de Bellefon
Yannick Bittencourt
Cyril Mitilian
Yann Chailloux
Mathieu Contat
Anémone Arnaud
Ninon RauxTime
Location
Event Details
Event Details
Les Étoiles, les Premiers Danseurs et le Corps de Ballet de l’Opéra
Orchestre de l’Opéra national de Paris
Lighting: Madjid Hakimi
Julien Sorel :
Mathieu Ganio
Mathias Heymann
Germain Louvet
Hugo Marchand
Amandine Albisson
Hannah O’Neill
Dorothée Gilbert
Ludmila Pagliero
Léonore Baulac
Myriam Ould-Braham
Bianca Scudamore
Valentine Colasante
Eve Grinsztajn
Roxane Stojanov
Stéphane Bullion
Francesco Mura
Marc Moreau
Audric Bezard
Florian Magnenet
Pablo Legasa
Thomas Docquir
Antonio Conforti
Héloïse Bourdon
Eve Grinsztajn
Naïs Duboscq
Émilie Cozette
Camille de Bellefon
Yannick Bittencourt
Cyril Mitilian
Yann Chailloux
Mathieu Contat
Anémone Arnaud
Ninon RauxTime
Location
Event Details
Event Details
Les Étoiles, les Premiers Danseurs et le Corps de Ballet de l’Opéra
Orchestre de l’Opéra national de Paris
Lighting: Madjid Hakimi
Julien Sorel :
Mathieu Ganio
Mathias Heymann
Germain Louvet
Hugo Marchand
Amandine Albisson
Hannah O’Neill
Dorothée Gilbert
Ludmila Pagliero
Léonore Baulac
Myriam Ould-Braham
Bianca Scudamore
Valentine Colasante
Eve Grinsztajn
Roxane Stojanov
Stéphane Bullion
Francesco Mura
Marc Moreau
Audric Bezard
Florian Magnenet
Pablo Legasa
Thomas Docquir
Antonio Conforti
Héloïse Bourdon
Eve Grinsztajn
Naïs Duboscq
Émilie Cozette
Camille de Bellefon
Yannick Bittencourt
Cyril Mitilian
Yann Chailloux
Mathieu Contat
Anémone Arnaud
Ninon RauxTime
Location
Event Details
Event Details
Les Étoiles, les Premiers Danseurs et le Corps de Ballet de l’Opéra
Orchestre de l’Opéra national de Paris
Lighting: Madjid Hakimi
Julien Sorel :
Mathieu Ganio
Mathias Heymann
Germain Louvet
Hugo Marchand
Amandine Albisson
Hannah O’Neill
Dorothée Gilbert
Ludmila Pagliero
Léonore Baulac
Myriam Ould-Braham
Bianca Scudamore
Valentine Colasante
Eve Grinsztajn
Roxane Stojanov
Stéphane Bullion
Francesco Mura
Marc Moreau
Audric Bezard
Florian Magnenet
Pablo Legasa
Thomas Docquir
Antonio Conforti
Héloïse Bourdon
Eve Grinsztajn
Naïs Duboscq
Émilie Cozette
Camille de Bellefon
Yannick Bittencourt
Cyril Mitilian
Yann Chailloux
Mathieu Contat
Anémone Arnaud
Ninon RauxTime
Location
Event Details
Event Details
Les Étoiles, les Premiers Danseurs et le Corps de Ballet de l’Opéra
Orchestre de l’Opéra national de Paris
Lighting: Madjid Hakimi
Julien Sorel :
Mathieu Ganio
Mathias Heymann
Germain Louvet
Hugo Marchand
Amandine Albisson
Hannah O’Neill
Dorothée Gilbert
Ludmila Pagliero
Léonore Baulac
Myriam Ould-Braham
Bianca Scudamore
Valentine Colasante
Eve Grinsztajn
Roxane Stojanov
Stéphane Bullion
Francesco Mura
Marc Moreau
Audric Bezard
Florian Magnenet
Pablo Legasa
Thomas Docquir
Antonio Conforti
Héloïse Bourdon
Eve Grinsztajn
Naïs Duboscq
Émilie Cozette
Camille de Bellefon
Yannick Bittencourt
Cyril Mitilian
Yann Chailloux
Mathieu Contat
Anémone Arnaud
Ninon RauxTime
Location
Event Details
Event Details
Les Étoiles, les Premiers Danseurs et le Corps de Ballet de l’Opéra
Orchestre de l’Opéra national de Paris
Lighting: Madjid Hakimi
Julien Sorel :
Mathieu Ganio
Mathias Heymann
Germain Louvet
Hugo Marchand
Amandine Albisson
Hannah O’Neill
Dorothée Gilbert
Ludmila Pagliero
Léonore Baulac
Myriam Ould-Braham
Bianca Scudamore
Valentine Colasante
Eve Grinsztajn
Roxane Stojanov
Stéphane Bullion
Francesco Mura
Marc Moreau
Audric Bezard
Florian Magnenet
Pablo Legasa
Thomas Docquir
Antonio Conforti
Héloïse Bourdon
Eve Grinsztajn
Naïs Duboscq
Émilie Cozette
Camille de Bellefon
Yannick Bittencourt
Cyril Mitilian
Yann Chailloux
Mathieu Contat
Anémone Arnaud
Ninon RauxTime
Location
Event Details
Event Details
Les Étoiles, les Premiers Danseurs et le Corps de Ballet de l’Opéra
Orchestre de l’Opéra national de Paris
Lighting: Madjid Hakimi
Julien Sorel :
Mathieu Ganio
Mathias Heymann
Germain Louvet
Hugo Marchand
Amandine Albisson
Hannah O’Neill
Dorothée Gilbert
Ludmila Pagliero
Léonore Baulac
Myriam Ould-Braham
Bianca Scudamore
Valentine Colasante
Eve Grinsztajn
Roxane Stojanov
Stéphane Bullion
Francesco Mura
Marc Moreau
Audric Bezard
Florian Magnenet
Pablo Legasa
Thomas Docquir
Antonio Conforti
Héloïse Bourdon
Eve Grinsztajn
Naïs Duboscq
Émilie Cozette
Camille de Bellefon
Yannick Bittencourt
Cyril Mitilian
Yann Chailloux
Mathieu Contat
Anémone Arnaud
Ninon RauxTime
Location
Event Details
Event Details
Les Étoiles, les Premiers Danseurs et le Corps de Ballet de l’Opéra
Orchestre de l’Opéra national de Paris
Lighting: Madjid Hakimi
Julien Sorel :
Mathieu Ganio
Mathias Heymann
Germain Louvet
Hugo Marchand
Amandine Albisson
Hannah O’Neill
Dorothée Gilbert
Ludmila Pagliero
Léonore Baulac
Myriam Ould-Braham
Bianca Scudamore
Valentine Colasante
Eve Grinsztajn
Roxane Stojanov
Stéphane Bullion
Francesco Mura
Marc Moreau
Audric Bezard
Florian Magnenet
Pablo Legasa
Thomas Docquir
Antonio Conforti
Héloïse Bourdon
Eve Grinsztajn
Naïs Duboscq
Émilie Cozette
Camille de Bellefon
Yannick Bittencourt
Cyril Mitilian
Yann Chailloux
Mathieu Contat
Anémone Arnaud
Ninon RauxTime
Location
Event Details
Event Details
Les Étoiles, les Premiers Danseurs et le Corps de Ballet de l’Opéra
Orchestre de l’Opéra national de Paris
Lighting: Madjid Hakimi
Julien Sorel :
Mathieu Ganio
Mathias Heymann
Germain Louvet
Hugo Marchand
Amandine Albisson
Hannah O’Neill
Dorothée Gilbert
Ludmila Pagliero
Léonore Baulac
Myriam Ould-Braham
Bianca Scudamore
Valentine Colasante
Eve Grinsztajn
Roxane Stojanov
Stéphane Bullion
Francesco Mura
Marc Moreau
Audric Bezard
Florian Magnenet
Pablo Legasa
Thomas Docquir
Antonio Conforti
Héloïse Bourdon
Eve Grinsztajn
Naïs Duboscq
Émilie Cozette
Camille de Bellefon
Yannick Bittencourt
Cyril Mitilian
Yann Chailloux
Mathieu Contat
Anémone Arnaud
Ninon RauxTime
Location
Event Details
Event Details
Les Étoiles, les Premiers Danseurs et le Corps de Ballet de l’Opéra
Orchestre de l’Opéra national de Paris
Lighting: Madjid Hakimi
Julien Sorel :
Mathieu Ganio
Mathias Heymann
Germain Louvet
Hugo Marchand
Amandine Albisson
Hannah O’Neill
Dorothée Gilbert
Ludmila Pagliero
Léonore Baulac
Myriam Ould-Braham
Bianca Scudamore
Valentine Colasante
Eve Grinsztajn
Roxane Stojanov
Stéphane Bullion
Francesco Mura
Marc Moreau
Audric Bezard
Florian Magnenet
Pablo Legasa
Thomas Docquir
Antonio Conforti
Héloïse Bourdon
Eve Grinsztajn
Naïs Duboscq
Émilie Cozette
Camille de Bellefon
Yannick Bittencourt
Cyril Mitilian
Yann Chailloux
Mathieu Contat
Anémone Arnaud
Ninon RauxTime
Location
Event Details
Event Details
Les Étoiles, les Premiers Danseurs et le Corps de Ballet de l’Opéra
Orchestre de l’Opéra national de Paris
Lighting: Madjid Hakimi
Julien Sorel :
Mathieu Ganio
Mathias Heymann
Germain Louvet
Hugo Marchand
Amandine Albisson
Hannah O’Neill
Dorothée Gilbert
Ludmila Pagliero
Léonore Baulac
Myriam Ould-Braham
Bianca Scudamore
Valentine Colasante
Eve Grinsztajn
Roxane Stojanov
Stéphane Bullion
Francesco Mura
Marc Moreau
Audric Bezard
Florian Magnenet
Pablo Legasa
Thomas Docquir
Antonio Conforti
Héloïse Bourdon
Eve Grinsztajn
Naïs Duboscq
Émilie Cozette
Camille de Bellefon
Yannick Bittencourt
Cyril Mitilian
Yann Chailloux
Mathieu Contat
Anémone Arnaud
Ninon RauxTime
Location
Event Details
Event Details
Staging Josef E. Köpplinger
Set Design Walter Vogelweider
Costume Design Dagmar Morell
Choreography Ricarda Regina Ludigkeit
Lighting Design Fabio Antoci
Choir Jonathan Becker
Dramaturgy Johann Casimir Eule
Libretoo: Libretto by Emanuel Schikaneder
Sarastro Georg Zeppenfeld
Königin der Nacht Maria Perlt-Gärtner
Pamina Mariya Taniguchi
Tamino Sebastian Kohlhepp
Papageno Christoph Pohl
Erste Dame Ute Selbig
Zweite Dame Anna Kudriashova-Stepanets
Dritte Dame Christa Mayer
Monostatos Simeon Esper
Sprecher Matthias Henneberg
Papagena Julia Muzychenko
Erster Priester Doğukan Kuran
Zweiter Priester Gerald Hupach
Erster Geharnischter Jürgen Müller
Zweiter Geharnischter Rupert Grössinger
Sächsische Staatskapelle DresdenTime
Location
Event Details
Event Details
Staging Josef E. Köpplinger
Set Design Walter Vogelweider
Costume Design Dagmar Morell
Choreography Ricarda Regina Ludigkeit
Lighting Design Fabio Antoci
Choir Jonathan Becker
Dramaturgy Johann Casimir Eule
Libretoo: Libretto by Emanuel Schikaneder
Sarastro Georg Zeppenfeld
Königin der Nacht Maria Perlt-Gärtner
Pamina Mariya Taniguchi
Tamino Sebastian Kohlhepp
Papageno Christoph Pohl
Erste Dame Ute Selbig
Zweite Dame Anna Kudriashova-Stepanets
Dritte Dame Christa Mayer
Monostatos Simeon Esper
Sprecher Matthias Henneberg
Papagena Julia Muzychenko
Erster Priester Doğukan Kuran
Zweiter Priester Gerald Hupach
Erster Geharnischter Jürgen Müller
Zweiter Geharnischter Rupert Grössinger
Sächsische Staatskapelle DresdenTime
Location
Event Details
Event Details
Staging Josef E. Köpplinger
Set Design Walter Vogelweider
Costume Design Dagmar Morell
Choreography Ricarda Regina Ludigkeit
Lighting Design Fabio Antoci
Choir Jonathan Becker
Dramaturgy Johann Casimir Eule
Libretoo: Libretto by Emanuel Schikaneder
Sarastro Georg Zeppenfeld
Königin der Nacht Maria Perlt-Gärtner
Pamina Mariya Taniguchi
Tamino Sebastian Kohlhepp
Papageno Christoph Pohl
Erste Dame Ute Selbig
Zweite Dame Anna Kudriashova-Stepanets
Dritte Dame Christa Mayer
Monostatos Simeon Esper
Sprecher Matthias Henneberg
Papagena Julia Muzychenko
Erster Priester Doğukan Kuran
Zweiter Priester Gerald Hupach
Erster Geharnischter Jürgen Müller
Zweiter Geharnischter Rupert Grössinger
Sächsische Staatskapelle DresdenTime
Location
Event Details
Event Details
Staging after Christine Mielitz
Set Design & Costume Design Peter Heilein
Lighting Design Friedewalt Degen
Choir André Kellinghaus
Children Choir Claudia Sebastian-Bertsch
Dramaturgy Matthias Rank
Libretto: Libretto by Giuseppe Giacosa and Luigi Illica
Mimì Hrachuhí Bassénz
Musetta Julia Muzychenko
Rodolfo Liparit Avetisyan
Marcello Sebastian Wartig
Schaunard Ilya Silchuk
Colline Lawson Anderson
Benoît Hans-Joachim Ketelsen
Alcindoro Bernd Zettisch
Kinderchor der Semperoper Dresden
Sächsische Staatskapelle DresdenTime
Location
Event Details
Event Details
Staging after Christine Mielitz
Set Design & Costume Design Peter Heilein
Lighting Design Friedewalt Degen
Choir André Kellinghaus
Children Choir Claudia Sebastian-Bertsch
Dramaturgy Matthias Rank
Libretto: Libretto by Giuseppe Giacosa and Luigi Illica
Mimì Hrachuhí Bassénz
Musetta Julia Muzychenko
Rodolfo Liparit Avetisyan
Marcello Sebastian Wartig
Schaunard Ilya Silchuk
Colline Lawson Anderson
Benoît Hans-Joachim Ketelsen
Alcindoro Bernd Zettisch
Kinderchor der Semperoper Dresden
Sächsische Staatskapelle DresdenTime
Location
Event Details
Event Details
Staging Josef E. Köpplinger
Set Design Walter Vogelweider
Costume Design Dagmar Morell
Choreography Ricarda Regina Ludigkeit
Lighting Design Fabio Antoci
Choir Jonathan Becker
Dramaturgy Johann Casimir Eule
Libretoo: Libretto by Emanuel Schikaneder
Sarastro Georg Zeppenfeld
Königin der Nacht Maria Perlt-Gärtner
Pamina Mariya Taniguchi
Tamino Sebastian Kohlhepp
Papageno Christoph Pohl
Erste Dame Ute Selbig
Zweite Dame Anna Kudriashova-Stepanets
Dritte Dame Christa Mayer
Monostatos Simeon Esper
Sprecher Matthias Henneberg
Papagena Julia Muzychenko
Erster Priester Doğukan Kuran
Zweiter Priester Gerald Hupach
Erster Geharnischter Jürgen Müller
Zweiter Geharnischter Rupert Grössinger
Sächsische Staatskapelle DresdenTime
Location
Event Details
Event Details
Staging Josef E. Köpplinger
Set Design Walter Vogelweider
Costume Design Dagmar Morell
Choreography Ricarda Regina Ludigkeit
Lighting Design Fabio Antoci
Choir Jonathan Becker
Dramaturgy Johann Casimir Eule
Libretoo: Libretto by Emanuel Schikaneder
Sarastro Georg Zeppenfeld
Königin der Nacht Maria Perlt-Gärtner
Pamina Mariya Taniguchi
Tamino Sebastian Kohlhepp
Papageno Christoph Pohl
Erste Dame Ute Selbig
Zweite Dame Anna Kudriashova-Stepanets
Dritte Dame Christa Mayer
Monostatos Simeon Esper
Sprecher Matthias Henneberg
Papagena Julia Muzychenko
Erster Priester Doğukan Kuran
Zweiter Priester Gerald Hupach
Erster Geharnischter Jürgen Müller
Zweiter Geharnischter Rupert Grössinger
Sächsische Staatskapelle DresdenTime
Location
Event Details
Event Details
Staging Josef E. Köpplinger
Set Design Walter Vogelweider
Costume Design Dagmar Morell
Choreography Ricarda Regina Ludigkeit
Lighting Design Fabio Antoci
Choir Jonathan Becker
Dramaturgy Johann Casimir Eule
Libretoo: Libretto by Emanuel Schikaneder
Sarastro Georg Zeppenfeld
Königin der Nacht Maria Perlt-Gärtner
Pamina Mariya Taniguchi
Tamino Sebastian Kohlhepp
Papageno Christoph Pohl
Erste Dame Ute Selbig
Zweite Dame Anna Kudriashova-Stepanets
Dritte Dame Christa Mayer
Monostatos Simeon Esper
Sprecher Matthias Henneberg
Papagena Julia Muzychenko
Erster Priester Doğukan Kuran
Zweiter Priester Gerald Hupach
Erster Geharnischter Jürgen Müller
Zweiter Geharnischter Rupert Grössinger
Sächsische Staatskapelle DresdenTime
Location
Event Details
Event Details
Staging after Christine Mielitz
Set Design & Costume Design Peter Heilein
Lighting Design Friedewalt Degen
Choir André Kellinghaus
Children Choir Claudia Sebastian-Bertsch
Dramaturgy Matthias Rank
Libretto: Libretto by Giuseppe Giacosa and Luigi Illica
Mimì Hrachuhí Bassénz
Musetta Julia Muzychenko
Rodolfo Liparit Avetisyan
Marcello Sebastian Wartig
Schaunard Ilya Silchuk
Colline Lawson Anderson
Benoît Hans-Joachim Ketelsen
Alcindoro Bernd Zettisch
Kinderchor der Semperoper Dresden
Sächsische Staatskapelle DresdenTime
Location
Event Details
Event Details
Lighting: Guy Simard
Dramaturge: Janina Zell
Christian Günther: Chor
Bo Skovhus: Eisenstein
Jacquelyn Wagner: Rosalinde
Chao Deng: Frank
Jana Kurucová: Orlofsky
Oleksiy Palchykov: Alfred
Bernhard Hansky: Dr Falke
Peter Galliard: Dr. Blind
Narea Son: Adele
Gabriele Rossmanith: Ida
Jürgen Tarrach: Frosch
Chor der Hamburgischen StaatsoperTime
Event Details
Event Details
Lighting: Guy Simard
Dramaturge: Janina Zell
Christian Günther: Chor
Bo Skovhus: Eisenstein
Jacquelyn Wagner: Rosalinde
Chao Deng: Frank
Jana Kurucová: Orlofsky
Oleksiy Palchykov: Alfred
Bernhard Hansky: Dr Falke
Peter Galliard: Dr. Blind
Narea Son: Adele
Gabriele Rossmanith: Ida
Jürgen Tarrach: Frosch
Chor der Hamburgischen StaatsoperTime
Event Details
Event Details
Lighting: Guy Simard
Dramaturge: Janina Zell
Christian Günther: Chor
Bo Skovhus: Eisenstein
Jacquelyn Wagner: Rosalinde
Chao Deng: Frank
Jana Kurucová: Orlofsky
Oleksiy Palchykov: Alfred
Bernhard Hansky: Dr Falke
Peter Galliard: Dr. Blind
Narea Son: Adele
Gabriele Rossmanith: Ida
Jürgen Tarrach: Frosch
Chor der Hamburgischen StaatsoperTime
Event Details
Event Details
Lighting: Guy Simard
Dramaturge: Janina Zell
Christian Günther: Chor
Bo Skovhus: Eisenstein
Jacquelyn Wagner: Rosalinde
Chao Deng: Frank
Jana Kurucová: Orlofsky
Oleksiy Palchykov: Alfred
Bernhard Hansky: Dr Falke
Peter Galliard: Dr. Blind
Narea Son: Adele
Gabriele Rossmanith: Ida
Jürgen Tarrach: Frosch
Chor der Hamburgischen StaatsoperTime
Event Details
Event Details
Lighting: Guy Simard
Dramaturge: Janina Zell
Christian Günther: Chor
Bo Skovhus: Eisenstein
Jacquelyn Wagner: Rosalinde
Chao Deng: Frank
Jana Kurucová: Orlofsky
Oleksiy Palchykov: Alfred
Bernhard Hansky: Dr Falke
Peter Galliard: Dr. Blind
Narea Son: Adele
Gabriele Rossmanith: Ida
Jürgen Tarrach: Frosch
Chor der Hamburgischen StaatsoperTime
Event Details
Event Details
Lighting: Guy Simard
Dramaturge: Janina Zell
Christian Günther: Chor
Bo Skovhus: Eisenstein
Jacquelyn Wagner: Rosalinde
Chao Deng: Frank
Jana Kurucová: Orlofsky
Oleksiy Palchykov: Alfred
Bernhard Hansky: Dr Falke
Peter Galliard: Dr. Blind
Narea Son: Adele
Gabriele Rossmanith: Ida
Jürgen Tarrach: Frosch
Chor der Hamburgischen StaatsoperTime
Event Details
Event Details
Staging after Christine Mielitz
Set Design & Costume Design Peter Heilein
Lighting Design Friedewalt Degen
Choir André Kellinghaus
Children Choir Claudia Sebastian-Bertsch
Dramaturgy Matthias Rank
Libretto: Libretto by Giuseppe Giacosa and Luigi Illica
Mimì Hrachuhí Bassénz
Musetta Julia Muzychenko
Rodolfo Liparit Avetisyan
Marcello Sebastian Wartig
Schaunard Ilya Silchuk
Colline Lawson Anderson
Benoît Hans-Joachim Ketelsen
Alcindoro Bernd Zettisch
Kinderchor der Semperoper Dresden
Sächsische Staatskapelle DresdenTime
Location
october november december january