Papageno wants Papagena - Tamino his Pamina. But the pathway to love is not a simple one! Everyone has to undergo difficult trials. They even have to decide against murder and suicide, and do without food and drink and sometimes even without speech and song. The things that help them survive danger are a flute and a set of magic bells. The most world-renowned opera in a classically beautiful production, the legacy of stage director August Everding. The snake still breathes "real" fire, the Queen of the Night is still really a "star-flaming" monarch. The stage portrait (by Jürgen Rose) is wondrous fair. The magic of this opera really works here.

Papageno wants Papagena - Tamino his Pamina. But the pathway to love is not a simple one! Everyone has to undergo difficult trials. They even have to decide against murder and suicide, and do without food and drink and sometimes even without speech and song. The things that help them survive danger are a flute and a set of magic bells. The most world-renowned opera in a classically beautiful production, the legacy of stage director August Everding. The snake still breathes "real" fire, the Queen of the Night is still really a "star-flaming" monarch. The stage portrait (by Jürgen Rose) is wondrous fair. The magic of this opera really works here.

Papageno wants Papagena - Tamino his Pamina. But the pathway to love is not a simple one! Everyone has to undergo difficult trials. They even have to decide against murder and suicide, and do without food and drink and sometimes even without speech and song. The things that help them survive danger are a flute and a set of magic bells. The most world-renowned opera in a classically beautiful production, the legacy of stage director August Everding. The snake still breathes "real" fire, the Queen of the Night is still really a "star-flaming" monarch. The stage portrait (by Jürgen Rose) is wondrous fair. The magic of this opera really works here.

Papageno wants Papagena - Tamino his Pamina. But the pathway to love is not a simple one! Everyone has to undergo difficult trials. They even have to decide against murder and suicide, and do without food and drink and sometimes even without speech and song. The things that help them survive danger are a flute and a set of magic bells. The most world-renowned opera in a classically beautiful production, the legacy of stage director August Everding. The snake still breathes "real" fire, the Queen of the Night is still really a "star-flaming" monarch. The stage portrait (by Jürgen Rose) is wondrous fair. The magic of this opera really works here.

Papageno wants Papagena - Tamino his Pamina. But the pathway to love is not a simple one! Everyone has to undergo difficult trials. They even have to decide against murder and suicide, and do without food and drink and sometimes even without speech and song. The things that help them survive danger are a flute and a set of magic bells. The most world-renowned opera in a classically beautiful production, the legacy of stage director August Everding. The snake still breathes "real" fire, the Queen of the Night is still really a "star-flaming" monarch. The stage portrait (by Jürgen Rose) is wondrous fair. The magic of this opera really works here.

Papageno wants Papagena - Tamino his Pamina. But the pathway to love is not a simple one! Everyone has to undergo difficult trials. They even have to decide against murder and suicide, and do without food and drink and sometimes even without speech and song. The things that help them survive danger are a flute and a set of magic bells. The most world-renowned opera in a classically beautiful production, the legacy of stage director August Everding. The snake still breathes "real" fire, the Queen of the Night is still really a "star-flaming" monarch. The stage portrait (by Jürgen Rose) is wondrous fair. The magic of this opera really works here.

A governor, his friend, the friend's wife. A love triangle straight out of a romance novel. The soprano between the tenor and the baritone. But, in Verdi's Ballo in maschera all the protagonists are two-faced. Riccardo, the governor, is lauded as a just sovereign, yet shirks responsibility and seeks refuge from tedium in all manner of distractions - the ultimate kick for a man such as he can only be to risk his own life.

Renato loves his friend Riccardo almost more than his wife; and she, Amelia, wants not only to eradicate all feelings for Riccardo, but, if possible, even more. Ulrica, the fortune teller, is the shadowy influence who evokes in people an irresistible pull towards death - until the culmination of the dance on the volcano in a deadly masked ball. Composed in 1858 for Naples, the opera was not allowed to be performed there for reasons of censorship. After radical editing, the premiere finally took place in Rome and to this day remains one of the most performed, but also most mysterious of Verdi's works.

‍

A governor, his friend, the friend's wife. A love triangle straight out of a romance novel. The soprano between the tenor and the baritone. But, in Verdi's Ballo in maschera all the protagonists are two-faced. Riccardo, the governor, is lauded as a just sovereign, yet shirks responsibility and seeks refuge from tedium in all manner of distractions - the ultimate kick for a man such as he can only be to risk his own life.

Renato loves his friend Riccardo almost more than his wife; and she, Amelia, wants not only to eradicate all feelings for Riccardo, but, if possible, even more. Ulrica, the fortune teller, is the shadowy influence who evokes in people an irresistible pull towards death - until the culmination of the dance on the volcano in a deadly masked ball. Composed in 1858 for Naples, the opera was not allowed to be performed there for reasons of censorship. After radical editing, the premiere finally took place in Rome and to this day remains one of the most performed, but also most mysterious of Verdi's works.

‍

A governor, his friend, the friend's wife. A love triangle straight out of a romance novel. The soprano between the tenor and the baritone. But, in Verdi's Ballo in maschera all the protagonists are two-faced. Riccardo, the governor, is lauded as a just sovereign, yet shirks responsibility and seeks refuge from tedium in all manner of distractions - the ultimate kick for a man such as he can only be to risk his own life.

Renato loves his friend Riccardo almost more than his wife; and she, Amelia, wants not only to eradicate all feelings for Riccardo, but, if possible, even more. Ulrica, the fortune teller, is the shadowy influence who evokes in people an irresistible pull towards death - until the culmination of the dance on the volcano in a deadly masked ball. Composed in 1858 for Naples, the opera was not allowed to be performed there for reasons of censorship. After radical editing, the premiere finally took place in Rome and to this day remains one of the most performed, but also most mysterious of Verdi's works.

‍

A governor, his friend, the friend's wife. A love triangle straight out of a romance novel. The soprano between the tenor and the baritone. But, in Verdi's Ballo in maschera all the protagonists are two-faced. Riccardo, the governor, is lauded as a just sovereign, yet shirks responsibility and seeks refuge from tedium in all manner of distractions - the ultimate kick for a man such as he can only be to risk his own life.

Renato loves his friend Riccardo almost more than his wife; and she, Amelia, wants not only to eradicate all feelings for Riccardo, but, if possible, even more. Ulrica, the fortune teller, is the shadowy influence who evokes in people an irresistible pull towards death - until the culmination of the dance on the volcano in a deadly masked ball. Composed in 1858 for Naples, the opera was not allowed to be performed there for reasons of censorship. After radical editing, the premiere finally took place in Rome and to this day remains one of the most performed, but also most mysterious of Verdi's works.

‍

Danae must marry a wealthy man, to settle her father’s debts. All dream of gold here, and Danae more than all others. A powerful man takes an interest in her and sends another ahead. It would appear the right husband has been found. But, of course his wealth comes with a condition, which stands in the way of true happiness. Danae must, Danae can choose between wealth and love, between dreams and reality, between the promises of wealth and riches, and of love and all its happiness.

The “cheerful mythology” of Die Liebe der Danae reassembles various legends and characters of Greek antiquity, and recounts the story of a woman, who successfully asserts her love against the reason of state and capriciousness of the gods. What appears inconceivable in the scoring of similar baroque period material, which in Richard Wagner’s Der Ring des Nibelungen leads to doom and destruction, is possible here.The god stands aside and frees the way for the happiness of two people. Framed by a squad of comic figures and music in which the gold always glitters, and which all scatter after here.

With full orchestra and gigantic sounds, Richard Strauss looks back in his late work to the motifs of his own operas and the history of music. He would not live to see the 1952 world premiere. The piece was last restaged at the Bayerische Staatsoper in 1988, and it will now be interpreted by the team surrounding the Strauss specialists, Claus Guth (director) and Sebastian Weigle (conductor).

‍

A governor, his friend, the friend's wife. A love triangle straight out of a romance novel. The soprano between the tenor and the baritone. But, in Verdi's Ballo in maschera all the protagonists are two-faced. Riccardo, the governor, is lauded as a just sovereign, yet shirks responsibility and seeks refuge from tedium in all manner of distractions - the ultimate kick for a man such as he can only be to risk his own life.

Renato loves his friend Riccardo almost more than his wife; and she, Amelia, wants not only to eradicate all feelings for Riccardo, but, if possible, even more. Ulrica, the fortune teller, is the shadowy influence who evokes in people an irresistible pull towards death - until the culmination of the dance on the volcano in a deadly masked ball. Composed in 1858 for Naples, the opera was not allowed to be performed there for reasons of censorship. After radical editing, the premiere finally took place in Rome and to this day remains one of the most performed, but also most mysterious of Verdi's works.

‍

Danae must marry a wealthy man, to settle her father’s debts. All dream of gold here, and Danae more than all others. A powerful man takes an interest in her and sends another ahead. It would appear the right husband has been found. But, of course his wealth comes with a condition, which stands in the way of true happiness. Danae must, Danae can choose between wealth and love, between dreams and reality, between the promises of wealth and riches, and of love and all its happiness.

The “cheerful mythology” of Die Liebe der Danae reassembles various legends and characters of Greek antiquity, and recounts the story of a woman, who successfully asserts her love against the reason of state and capriciousness of the gods. What appears inconceivable in the scoring of similar baroque period material, which in Richard Wagner’s Der Ring des Nibelungen leads to doom and destruction, is possible here.The god stands aside and frees the way for the happiness of two people. Framed by a squad of comic figures and music in which the gold always glitters, and which all scatter after here.

With full orchestra and gigantic sounds, Richard Strauss looks back in his late work to the motifs of his own operas and the history of music. He would not live to see the 1952 world premiere. The piece was last restaged at the Bayerische Staatsoper in 1988, and it will now be interpreted by the team surrounding the Strauss specialists, Claus Guth (director) and Sebastian Weigle (conductor).

‍

Danae must marry a wealthy man, to settle her father’s debts. All dream of gold here, and Danae more than all others. A powerful man takes an interest in her and sends another ahead. It would appear the right husband has been found. But, of course his wealth comes with a condition, which stands in the way of true happiness. Danae must, Danae can choose between wealth and love, between dreams and reality, between the promises of wealth and riches, and of love and all its happiness.

The “cheerful mythology” of Die Liebe der Danae reassembles various legends and characters of Greek antiquity, and recounts the story of a woman, who successfully asserts her love against the reason of state and capriciousness of the gods. What appears inconceivable in the scoring of similar baroque period material, which in Richard Wagner’s Der Ring des Nibelungen leads to doom and destruction, is possible here.The god stands aside and frees the way for the happiness of two people. Framed by a squad of comic figures and music in which the gold always glitters, and which all scatter after here.

With full orchestra and gigantic sounds, Richard Strauss looks back in his late work to the motifs of his own operas and the history of music. He would not live to see the 1952 world premiere. The piece was last restaged at the Bayerische Staatsoper in 1988, and it will now be interpreted by the team surrounding the Strauss specialists, Claus Guth (director) and Sebastian Weigle (conductor).

‍

Danae must marry a wealthy man, to settle her father’s debts. All dream of gold here, and Danae more than all others. A powerful man takes an interest in her and sends another ahead. It would appear the right husband has been found. But, of course his wealth comes with a condition, which stands in the way of true happiness. Danae must, Danae can choose between wealth and love, between dreams and reality, between the promises of wealth and riches, and of love and all its happiness.

The “cheerful mythology” of Die Liebe der Danae reassembles various legends and characters of Greek antiquity, and recounts the story of a woman, who successfully asserts her love against the reason of state and capriciousness of the gods. What appears inconceivable in the scoring of similar baroque period material, which in Richard Wagner’s Der Ring des Nibelungen leads to doom and destruction, is possible here.The god stands aside and frees the way for the happiness of two people. Framed by a squad of comic figures and music in which the gold always glitters, and which all scatter after here.

With full orchestra and gigantic sounds, Richard Strauss looks back in his late work to the motifs of his own operas and the history of music. He would not live to see the 1952 world premiere. The piece was last restaged at the Bayerische Staatsoper in 1988, and it will now be interpreted by the team surrounding the Strauss specialists, Claus Guth (director) and Sebastian Weigle (conductor).

‍

Danae must marry a wealthy man, to settle her father’s debts. All dream of gold here, and Danae more than all others. A powerful man takes an interest in her and sends another ahead. It would appear the right husband has been found. But, of course his wealth comes with a condition, which stands in the way of true happiness. Danae must, Danae can choose between wealth and love, between dreams and reality, between the promises of wealth and riches, and of love and all its happiness.

The “cheerful mythology” of Die Liebe der Danae reassembles various legends and characters of Greek antiquity, and recounts the story of a woman, who successfully asserts her love against the reason of state and capriciousness of the gods. What appears inconceivable in the scoring of similar baroque period material, which in Richard Wagner’s Der Ring des Nibelungen leads to doom and destruction, is possible here.The god stands aside and frees the way for the happiness of two people. Framed by a squad of comic figures and music in which the gold always glitters, and which all scatter after here.

With full orchestra and gigantic sounds, Richard Strauss looks back in his late work to the motifs of his own operas and the history of music. He would not live to see the 1952 world premiere. The piece was last restaged at the Bayerische Staatsoper in 1988, and it will now be interpreted by the team surrounding the Strauss specialists, Claus Guth (director) and Sebastian Weigle (conductor).

‍

Songs and solo piano works by Ravel

Erika Baikoff, Soprano

Wiebke Lehmkuhl, Mezzo

Sebastian Kohlhepp, Tenor

Matthew Rose, Bass

SWR Vokalensemble

WDR Rundfunkchor

SWR Symphonieorchester

Pablo Heras-Casado, Conductor

‍

Erika Baikoff, Soprano

Wiebke Lehmkuhl, Mezzo

Sebastian Kohlhepp, Tenor

Matthew Rose, Bass

SWR Vokalensemble

WDR Rundfunkchor

SWR Symphonieorchester

Pablo Heras-Casado, Dirigent

‍

Erika Baikoff, Soprano

Wiebke Lehmkuhl, Mezzo

Sebastian Kohlhepp, Tenor

Matthew Rose, Bass

SWR Vokalensemble

WDR Rundfunkchor

SWR Symphonieorchester

Pablo Heras-Casado, Dirigent

‍

Erika Baikoff, Soprano

Wiebke Lehmkuhl, Mezzo

Sebastian Kohlhepp, Tenor

Matthew Rose, Bass

SWR Vokalensemble

WDR Rundfunkchor

SWR Symphonieorchester

Pablo Heras-Casado, Conductor

‍

Hamlet is one of the greatest works in the history of culture: its combination of thriller and philosophical drama proved a sure-fire winner. One of the most obscure, and certainly most unusual, opera versions is Francesco Gasparini’s Ambleto, which was first performed in Venice in 1706. This highly virtuoso Baroque opera is based on the Danish chronicles Gesta Danorum, which were also the inspiration for Shakespeare, but the spotlight here is firmly on the tragic tale of revenge. Gasparini, who studied under Arcangelo Corelli and taught Domenico Scarlatti (whose music inspired Johann Sebastian Bach), wrote this work, that proved very popular with contemporary audiences, for Nicolini, a castrato who was also a gifted actor. It was thanks to him that Ambleto was performed in London in 1712 – and the score used at the time has survived to the present day. In Vienna, counter-tenor Raffaele Pe takes on the title role, so rich in coloratura and complexity. Following her successful production of La liberazione, Ilaria Lanzino returns to the MusikTheater an der Wien as a director who has caused a sensation in recent years with her inventive, bold and multi-award-winning stagings.

Hamlet is one of the greatest works in the history of culture: its combination of thriller and philosophical drama proved a sure-fire winner. One of the most obscure, and certainly most unusual, opera versions is Francesco Gasparini’s Ambleto, which was first performed in Venice in 1706. This highly virtuoso Baroque opera is based on the Danish chronicles Gesta Danorum, which were also the inspiration for Shakespeare, but the spotlight here is firmly on the tragic tale of revenge. Gasparini, who studied under Arcangelo Corelli and taught Domenico Scarlatti (whose music inspired Johann Sebastian Bach), wrote this work, that proved very popular with contemporary audiences, for Nicolini, a castrato who was also a gifted actor. It was thanks to him that Ambleto was performed in London in 1712 – and the score used at the time has survived to the present day. In Vienna, counter-tenor Raffaele Pe takes on the title role, so rich in coloratura and complexity. Following her successful production of La liberazione, Ilaria Lanzino returns to the MusikTheater an der Wien as a director who has caused a sensation in recent years with her inventive, bold and multi-award-winning stagings.

Hamlet is one of the greatest works in the history of culture: its combination of thriller and philosophical drama proved a sure-fire winner. One of the most obscure, and certainly most unusual, opera versions is Francesco Gasparini’s Ambleto, which was first performed in Venice in 1706. This highly virtuoso Baroque opera is based on the Danish chronicles Gesta Danorum, which were also the inspiration for Shakespeare, but the spotlight here is firmly on the tragic tale of revenge. Gasparini, who studied under Arcangelo Corelli and taught Domenico Scarlatti (whose music inspired Johann Sebastian Bach), wrote this work, that proved very popular with contemporary audiences, for Nicolini, a castrato who was also a gifted actor. It was thanks to him that Ambleto was performed in London in 1712 – and the score used at the time has survived to the present day. In Vienna, counter-tenor Raffaele Pe takes on the title role, so rich in coloratura and complexity. Following her successful production of La liberazione, Ilaria Lanzino returns to the MusikTheater an der Wien as a director who has caused a sensation in recent years with her inventive, bold and multi-award-winning stagings.

Hamlet is one of the greatest works in the history of culture: its combination of thriller and philosophical drama proved a sure-fire winner. One of the most obscure, and certainly most unusual, opera versions is Francesco Gasparini’s Ambleto, which was first performed in Venice in 1706. This highly virtuoso Baroque opera is based on the Danish chronicles Gesta Danorum, which were also the inspiration for Shakespeare, but the spotlight here is firmly on the tragic tale of revenge. Gasparini, who studied under Arcangelo Corelli and taught Domenico Scarlatti (whose music inspired Johann Sebastian Bach), wrote this work, that proved very popular with contemporary audiences, for Nicolini, a castrato who was also a gifted actor. It was thanks to him that Ambleto was performed in London in 1712 – and the score used at the time has survived to the present day. In Vienna, counter-tenor Raffaele Pe takes on the title role, so rich in coloratura and complexity. Following her successful production of La liberazione, Ilaria Lanzino returns to the MusikTheater an der Wien as a director who has caused a sensation in recent years with her inventive, bold and multi-award-winning stagings.

Hamlet is one of the greatest works in the history of culture: its combination of thriller and philosophical drama proved a sure-fire winner. One of the most obscure, and certainly most unusual, opera versions is Francesco Gasparini’s Ambleto, which was first performed in Venice in 1706. This highly virtuoso Baroque opera is based on the Danish chronicles Gesta Danorum, which were also the inspiration for Shakespeare, but the spotlight here is firmly on the tragic tale of revenge. Gasparini, who studied under Arcangelo Corelli and taught Domenico Scarlatti (whose music inspired Johann Sebastian Bach), wrote this work, that proved very popular with contemporary audiences, for Nicolini, a castrato who was also a gifted actor. It was thanks to him that Ambleto was performed in London in 1712 – and the score used at the time has survived to the present day. In Vienna, counter-tenor Raffaele Pe takes on the title role, so rich in coloratura and complexity. Following her successful production of La liberazione, Ilaria Lanzino returns to the MusikTheater an der Wien as a director who has caused a sensation in recent years with her inventive, bold and multi-award-winning stagings.

‍

Hamlet is one of the greatest works in the history of culture: its combination of thriller and philosophical drama proved a sure-fire winner. One of the most obscure, and certainly most unusual, opera versions is Francesco Gasparini’s Ambleto, which was first performed in Venice in 1706. This highly virtuoso Baroque opera is based on the Danish chronicles Gesta Danorum, which were also the inspiration for Shakespeare, but the spotlight here is firmly on the tragic tale of revenge. Gasparini, who studied under Arcangelo Corelli and taught Domenico Scarlatti (whose music inspired Johann Sebastian Bach), wrote this work, that proved very popular with contemporary audiences, for Nicolini, a castrato who was also a gifted actor. It was thanks to him that Ambleto was performed in London in 1712 – and the score used at the time has survived to the present day. In Vienna, counter-tenor Raffaele Pe takes on the title role, so rich in coloratura and complexity. Following her successful production of La liberazione, Ilaria Lanzino returns to the MusikTheater an der Wien as a director who has caused a sensation in recent years with her inventive, bold and multi-award-winning stagings.

Hamlet is one of the greatest works in the history of culture: its combination of thriller and philosophical drama proved a sure-fire winner. One of the most obscure, and certainly most unusual, opera versions is Francesco Gasparini’s Ambleto, which was first performed in Venice in 1706. This highly virtuoso Baroque opera is based on the Danish chronicles Gesta Danorum, which were also the inspiration for Shakespeare, but the spotlight here is firmly on the tragic tale of revenge. Gasparini, who studied under Arcangelo Corelli and taught Domenico Scarlatti (whose music inspired Johann Sebastian Bach), wrote this work, that proved very popular with contemporary audiences, for Nicolini, a castrato who was also a gifted actor. It was thanks to him that Ambleto was performed in London in 1712 – and the score used at the time has survived to the present day. In Vienna, counter-tenor Raffaele Pe takes on the title role, so rich in coloratura and complexity. Following her successful production of La liberazione, Ilaria Lanzino returns to the MusikTheater an der Wien as a director who has caused a sensation in recent years with her inventive, bold and multi-award-winning stagings.

The creative team surrounding director Krzysztof Warlikowski has a long history of successful collaboration that has taken them to all of Europe’s great opera houses.

At the Bayerische Staatsoper the team last staged Salome in almost the same configuration in 2019. For the DidoandAeneas ... Erwartung double bill, Małgorzata Szczęśniak is again designing the stage and costumes, as she has for all of Warlikowski's productions since 1992. For more than 20 years Felice Ross has been responsible for the lighting design for the team's opera productions. Kamil Polak, who won an Oscar in 2008 in the Animated Short Film category, designs the videos, and dancer and actor Claude Bardouil is in charge of movement direction – tried and tested as always. Dramaturge Christian Longchamp, also connected to the team by numerous projects at other theatres, is now also working for the first time in Munich.

Warlikowski is also connected with the singer now embodying both roles, Dido and the Woman, Ausrine Stundyte. They celebrated highly acclaimed success at the Salzburg Festival in 2020 with Elektra, and the singer has been a regular guest in Munich since 2015, most recently appearing as Regan in Reimann's Lear in 2021 and Jeanne in Krzysztof Penderecki's The Devils of Loudun in 2022.

‍

The creative team surrounding director Krzysztof Warlikowski has a long history of successful collaboration that has taken them to all of Europe’s great opera houses.

At the Bayerische Staatsoper the team last staged Salome in almost the same configuration in 2019. For the DidoandAeneas ... Erwartung double bill, Małgorzata Szczęśniak is again designing the stage and costumes, as she has for all of Warlikowski's productions since 1992. For more than 20 years Felice Ross has been responsible for the lighting design for the team's opera productions. Kamil Polak, who won an Oscar in 2008 in the Animated Short Film category, designs the videos, and dancer and actor Claude Bardouil is in charge of movement direction – tried and tested as always. Dramaturge Christian Longchamp, also connected to the team by numerous projects at other theatres, is now also working for the first time in Munich.

Warlikowski is also connected with the singer now embodying both roles, Dido and the Woman, Ausrine Stundyte. They celebrated highly acclaimed success at the Salzburg Festival in 2020 with Elektra, and the singer has been a regular guest in Munich since 2015, most recently appearing as Regan in Reimann's Lear in 2021 and Jeanne in Krzysztof Penderecki's The Devils of Loudun in 2022.

‍

Danae must marry a wealthy man, to settle her father’s debts. All dream of gold here, and Danae more than all others. A powerful man takes an interest in her and sends another ahead. It would appear the right husband has been found. But, of course his wealth comes with a condition, which stands in the way of true happiness. Danae must, Danae can choose between wealth and love, between dreams and reality, between the promises of wealth and riches, and of love and all its happiness.

The “cheerful mythology” of Die Liebe der Danae reassembles various legends and characters of Greek antiquity, and recounts the story of a woman, who successfully asserts her love against the reason of state and capriciousness of the gods. What appears inconceivable in the scoring of similar baroque period material, which in Richard Wagner’s Der Ring des Nibelungen leads to doom and destruction, is possible here.The god stands aside and frees the way for the happiness of two people. Framed by a squad of comic figures and music in which the gold always glitters, and which all scatter after here.

With full orchestra and gigantic sounds, Richard Strauss looks back in his late work to the motifs of his own operas and the history of music. He would not live to see the 1952 world premiere. The piece was last restaged at the Bayerische Staatsoper in 1988, and it will now be interpreted by the team surrounding the Strauss specialists, Claus Guth (director) and Sebastian Weigle (conductor).

‍

Danae must marry a wealthy man, to settle her father’s debts. All dream of gold here, and Danae more than all others. A powerful man takes an interest in her and sends another ahead. It would appear the right husband has been found. But, of course his wealth comes with a condition, which stands in the way of true happiness. Danae must, Danae can choose between wealth and love, between dreams and reality, between the promises of wealth and riches, and of love and all its happiness.

The “cheerful mythology” of Die Liebe der Danae reassembles various legends and characters of Greek antiquity, and recounts the story of a woman, who successfully asserts her love against the reason of state and capriciousness of the gods. What appears inconceivable in the scoring of similar baroque period material, which in Richard Wagner’s Der Ring des Nibelungen leads to doom and destruction, is possible here.The god stands aside and frees the way for the happiness of two people. Framed by a squad of comic figures and music in which the gold always glitters, and which all scatter after here.

With full orchestra and gigantic sounds, Richard Strauss looks back in his late work to the motifs of his own operas and the history of music. He would not live to see the 1952 world premiere. The piece was last restaged at the Bayerische Staatsoper in 1988, and it will now be interpreted by the team surrounding the Strauss specialists, Claus Guth (director) and Sebastian Weigle (conductor).

‍

Since its first performance in 1893, Humperdinck's most famous opera Hansel and Gretel has remained constantly popular, becoming over the generations almost synonymous with the first family visit to the opera. "Brother come and dance with me!“ – "Susie, dear Susie" – a dancing brother and sister, the Dew Fairy and the Sandman, the Witch and the parents: a collection of all the fairy tale elements of the 19th century. And yet this is also a tale of hardship, hunger and the desire for abundance with a clear moral: "When the need is greatest, God the Lord puts out His hand!“ And, in Richard Jones' opulent, brilliant setting, it's a real must!

Since its first performance in 1893, Humperdinck's most famous opera Hansel and Gretel has remained constantly popular, becoming over the generations almost synonymous with the first family visit to the opera. "Brother come and dance with me!“ – "Susie, dear Susie" – a dancing brother and sister, the Dew Fairy and the Sandman, the Witch and the parents: a collection of all the fairy tale elements of the 19th century. And yet this is also a tale of hardship, hunger and the desire for abundance with a clear moral: "When the need is greatest, God the Lord puts out His hand!“ And, in Richard Jones' opulent, brilliant setting, it's a real must!

Erika Baikoff, Soprano
Rafael Fingerlos, Bass

Chor St. Michaelis
Orchester St. Michaelis

Conductor: Jörg Endebrock

‍

Nathalie Stutzmann, Conductor

Julia Lezhneva, Soprano

Lunga Eric Hallam, Tenor

Harold Wilson, Bass

Atlanta Symphony Orchestra Chorus

Atlanta Symphony Orchestra

Nathalie Stutzmann, Conductor

Julia Lezhneva, Soprano

Lunga Eric Hallam, Tenor

Harold Wilson, Bass

Atlanta Symphony Orchestra Chorus

Atlanta Symphony Orchestra

Nathalie Stutzmann, Conductor

Julia Lezhneva, Soprano

Lunga Eric Hallam, Tenor

Harold Wilson, Bass

Atlanta Symphony Orchestra Chorus

Atlanta Symphony Orchestra

Works by Grieg, Dvorak, Marx, Britten, and Tchaikovsky

Works by Britten, Dvorak, Marx and Tchaikovsky

Step into a world of seduction and vengeance with Mozart's timeless masterpiece, Don Giovanni. The famous libertine Don Giovanni leaves lovers, friends, and enemies in his wake with no regard for the consequences. His heartless deceptions invite us to ask ourselves: do we get what we deserve in the end? Don Giovanni resonates in your soul long after the final note.

Step into a world of seduction and vengeance with Mozart's timeless masterpiece, Don Giovanni. The famous libertine Don Giovanni leaves lovers, friends, and enemies in his wake with no regard for the consequences. His heartless deceptions invite us to ask ourselves: do we get what we deserve in the end? Don Giovanni resonates in your soul long after the final note.

Songs and Opera scenes

Songs and Opera scenes

Songs and Opera scenes

Lieder by Schubert, Schumann, Liszt, Dvořák & Tchaikovsky

Works by Chaminade, Chausson, Debussy, Liszt, Milhaud, Rachmaninov, Rubinstein, Scriabin, and Turina

Works by Berlioz, Bizet, Chaminade, Debussy, Duparc, Poulenc, Ravel, Saint-Saëns, Satie, and Weil

Works by Mendelssohn, Rimsky-Korsakov, and Schubert

Stephanie Childress - Conductor
Erika Baikoff - Soprano
Detroit Symphony Orchestra

CAROLINE SHAW Entr’acte
BENJAMIN BRITTEN Les Illuminations
FELIX MENDELSSOHN Symphony no. 1

‍

Stephanie Childress - Conductor
Erika Baikoff - Soprano
Detroit Symphony Orchestra

CAROLINE SHAW Entr’acte
BENJAMIN BRITTEN Les Illuminations
FELIX MENDELSSOHN Symphony no. 1

‍

Stephanie Childress - Conductor
Erika Baikoff - Soprano
Detroit Symphony Orchestra

CAROLINE SHAW Entr’acte
BENJAMIN BRITTEN Les Illuminations
FELIX MENDELSSOHN Symphony no. 1

‍

Stephanie Childress - Conductor
Erika Baikoff - Soprano
Detroit Symphony Orchestra

CAROLINE SHAW Entr’acte
BENJAMIN BRITTEN Les Illuminations
FELIX MENDELSSOHN Symphony no. 1

‍

"If you travel to India and to Central Africa, you'll hear Trovatore.“ Nine years after the triumphant first performance, Verdi's opera had achieved the worldwide popularity that moved the composer to make this comment. The fabric of the opera could hardly be more gloomy: a gypsy who wishes to avenge the death of her mother at the stake, a count who wishes to use the execution of this gypsy to strike at his rival; a horrifying truth that is revealed at the moment of death. All the ingredients of Verdi's dramatic abundance appear here: mysterious sound worlds, harsh contrasts, vocal brilliance, opulent tableaux. The cohesive narrative style gives way to the variation of suggestive musical images with which Verdi served "the most important part of the drama“: revenge.

Premiere of Richard Strauss' "Elektra" on October 27, 1997 in the Nationaltheater

Elektra's father: murdered. Her mother and her paramour Ägisth were his murderers. The disheveled Elektra is determined to avenge the parricide. She has the axe for the deed but not the strength. Then her brother Orest appears … Armor-plated emotions! – whipped up by a gigantic orchestra. An aristocratic cast of singers. An enthusiastically cheered staging by Herbert Wernicke. A shattering drama of the Soul.

‍

"If you travel to India and to Central Africa, you'll hear Trovatore.“ Nine years after the triumphant first performance, Verdi's opera had achieved the worldwide popularity that moved the composer to make this comment. The fabric of the opera could hardly be more gloomy: a gypsy who wishes to avenge the death of her mother at the stake, a count who wishes to use the execution of this gypsy to strike at his rival; a horrifying truth that is revealed at the moment of death. All the ingredients of Verdi's dramatic abundance appear here: mysterious sound worlds, harsh contrasts, vocal brilliance, opulent tableaux. The cohesive narrative style gives way to the variation of suggestive musical images with which Verdi served "the most important part of the drama“: revenge.

Azim Karimov, conducter

Avery Amereau, mezzo

Benjamin Bruns, tenor

Michael Nagy, Bass

Bayerisches Staatsorchester

Bayerischer Staatsopernchor

Lieder by Brahms, Dvorak, Grieg, Haydn, Mozart, and Schönberg

BBC Symphony Orchestra

Martyn Brabbins conductor

Marta Fontanals-Simmons mezzo-soprano

Joshua Stewart tenor

Ross Ramgobin baritone

BBC Symphony Chorus

‍

640 girls in Italy, 231 in Germany, 100 in France, 91 in Turkey, 1,003 in Spain. As the servant Leporello famously sings in his “Catalogue aria,” the eponymous fiend in Mozart’s sublime tragicomedy Don Giovanni has already been very busy when he beds the engaged Anna and then kills her father in a duel. Even as he’s pursued by aggrieved parties on all sides, Don Giovanni sets about seducing the lovely Zerlina—on her wedding day. But the arrogant Spanish antihero everyone loves to hate meets his comeuppance, and in director Kasper Holten’s brilliant production, his descent into hell is not literal but mental, as depicted by Luke Halls’s incredible projections onto Es Devlin’s magically minimalist set. Conducted by acclaimed Mozartian Dame Jane Glover, the opera’s stellar cast will be headlined by charismatic Italian bass-baritone Luca Pisaroni, an international superstar, in the title role, opposite sensational soprano Andriana Chuchman in her role debut as Donna Anna. The opera’s world-renowned cast will be headlined by bass-baritone Ryan McKinny as Leporello, tenor Kang Wang in his company debut as Don Ottavio, and mezzo-soprano Sasha Cooke as Donna Elvira.

Works by Schubert, Wolf, Zemlinsky, Schönberg and Korngold

An intoxicating blend of romance, fantasy, and adventure. Offenbach’s dreamlike The Tales of Hoffmann offers a spellbinding portrait of a man who’s haunted by his past. Sophisticated and imaginative, Offenbach’s last and greatest work combines emotional depth and musical brilliance. Sung in French with English supertitles projected.

‍

Songs by Beydts, Duparc, Debussy, Grieg, Hahn, Korngold, A. Mahler, Marx, Strohl, and Walton

Sir Simon Rattle  conductor

London Symphony Chorus
London Symphony Orchestra

Sir Simon Rattle  conductor

‍London Symphony Chorus
London Symphony Orchestra

Conductor, Aapo Häkkinen

Eva, Ivana Lazar

Adamo, Aco Bišćević‍‍

Angelo di giustizia, Sonja Runje

Helsinki Baroque Orchestra

Conductor, Aapo Häkkinen

Eva, Ivana Lazar

Adamo, Aco Bišćević‍‍

Angelo di giustizia, Sonja Runje

Helsinki Baroque Orchestra

‍

Works by Schubert, Clara Schumann, Korngold, Rimsky-Korsakov, Prokofiev, and Rachmaninoff

Works by Balakirev, Glinka, Mussorgsky, Rachmaninov, Rimsky-Korsakov, Rubinstein and Tchaikovsky

‍

‍

Erika Baikoff, soprano

Gilles Vonsattel, piano

Benjamin Beilman, violin

Clive Greensmith, cello

‍

Works by Schubert, Rimsky-Korsakov, Rachmaninoff, Mozart and Donizetti.

Works by Schubert, Korngold, Marx, Debussy and Rachmaninoff

Songs by Schubert, Korngold, Marx, Rimsky-Korsakov, Tchaikovsky and Rachmaninoff

Music from the Baroque era stimulates the senses, lifts the spirits, and inspires faith in all things good. The evolution of everything in music—from the art of counterpoint to the invention of new forms—transformed Baroque composers into unstoppable creators as they experimented with new musical styles and combinations of instruments. In this opening concert, we’ll experience six trailblazing composers showing their skills in a colorful collection of instruments and ensembles.

The Met’s popular concert series in New York City parks kicks off the New York summer season with six free outdoor recitals, featuring established artists and young talents of the opera world, to New Yorkers in all five boroughs starting Tuesday, June 20. The series, now in its 14th year, has become an operatic summer tradition.

The program for these concerts will feature rising stars of the Met—soprano and Lindemann Young Artist Development Program graduate Erika Baikoff, who recently appeared as Barbarina in Mozart’s Le Nozze di Figaro and Tebaldo in Verdi’s Don Carlo; mezzo-soprano and current Lindemann Young Artist Cierra Byrd, who sang Bertha in Terence Blanchard’s Fire Shut Up in My Bones; and baritone Thomas Glass, who won the 2019 Eric and Dominique Laffont Competition and sang Prince Yamadori in Puccini’s Madama Butterfly during the 2021–22 season. Met assistant conductor and member of the Lindemann Young Artist Development Program Juan José Lázaro will join the singers at the piano.

The Met’s popular concert series in New York City parks kicks off the New York summer season with six free outdoor recitals, featuring established artists and young talents of the opera world, to New Yorkers in all five boroughs starting Tuesday, June 20. The series, now in its 14th year, has become an operatic summer tradition.

The program for these concerts will feature rising stars of the Met—soprano and Lindemann Young Artist Development Program graduate Erika Baikoff, who recently appeared as Barbarina in Mozart’s Le Nozze di Figaro and Tebaldo in Verdi’s Don Carlo; mezzo-soprano and current Lindemann Young Artist Cierra Byrd, who sang Bertha in Terence Blanchard’s Fire Shut Up in My Bones; and baritone Thomas Glass, who won the 2019 Eric and Dominique Laffont Competition and sang Prince Yamadori in Puccini’s Madama Butterfly during the 2021–22 season. Met assistant conductor and member of the Lindemann Young Artist Development Program Juan José Lázaro will join the singers at the piano.

The Met’s popular concert series in New York City parks kicks off the New York summer season with six free outdoor recitals, featuring established artists and young talents of the opera world, to New Yorkers in all five boroughs starting Tuesday, June 20. The series, now in its 14th year, has become an operatic summer tradition.

The program for these concerts will feature rising stars of the Met—soprano and Lindemann Young Artist Development Program graduate Erika Baikoff, who recently appeared as Barbarina in Mozart’s Le Nozze di Figaro and Tebaldo in Verdi’s Don Carlo; mezzo-soprano and current Lindemann Young Artist Cierra Byrd, who sang Bertha in Terence Blanchard’s Fire Shut Up in My Bones; and baritone Thomas Glass, who won the 2019 Eric and Dominique Laffont Competition and sang Prince Yamadori in Puccini’s Madama Butterfly during the 2021–22 season. Met assistant conductor and member of the Lindemann Young Artist Development Program Juan José Lázaro will join the singers at the piano.

The Met’s popular concert series in New York City parks kicks off the New York summer season with six free outdoor recitals, featuring established artists and young talents of the opera world, to New Yorkers in all five boroughs starting Tuesday, June 20. The series, now in its 14th year, has become an operatic summer tradition.

The program for these concerts will feature rising stars of the Met—soprano and Lindemann Young Artist Development Program graduate Erika Baikoff, who recently appeared as Barbarina in Mozart’s Le Nozze di Figaro and Tebaldo in Verdi’s Don Carlo; mezzo-soprano and current Lindemann Young Artist Cierra Byrd, who sang Bertha in Terence Blanchard’s Fire Shut Up in My Bones; and baritone Thomas Glass, who won the 2019 Eric and Dominique Laffont Competition and sang Prince Yamadori in Puccini’s Madama Butterfly during the 2021–22 season. Met assistant conductor and member of the Lindemann Young Artist Development Program Juan José Lázaro will join the singers at the piano.

All the splendour of Bach in one piece. Finely crafted for over 30 years, Mass in B Minor encapsulates the renowned composer’s style. Conducted by Yannick Nézet-Séguin, the work features symmetrical movements, complex architecture, fascinating counterpoint passages and powerful voices that showcase Bach’s genius—a simple mortal at the service of humanity.

David McVicar’s monumental production—created for the Met premiere of the original French version of Verdi’s gripping drama in the 2021–22 season—returns, now sung in Italian and starring an unbeatable cast of dramatic voices. Russell Thomas, one of today’s fastest-rising tenors, takes on the title role, a Spanish nobleman caught between private passion and public duty, sharing the stage with sopranos Eleonora Buratto and Angela Meade as Elisabeth de Valois, mezzo-soprano Anita Rachvelishvili as Princess Eboli, baritone Peter Mattei as Rodrigo, bass-baritone John Relyea as the Grand Inquisitor, and bass Günther Groissböck as King Philip II. Carlo Rizzi conducts one of the repertory’s most epic works.

Beethoven: Triple Concerto, Op. 56

Mahler: Symphony No. 4

Conducted by Kent Nagano

Jeremiah Clarke: The Prince of Denmark's March
John Stanley: Trumpet Voluntary
Sergei Prokofiev: Sonata for Two Violins, Op. 56

Franz Schubert: Der Hirt auf dem Felsen, D. 965
Francis Poulenc: Sextet for Piano and Winds, FP 100
G. Bottesini: Gran Duo Concertante
Johannes Brahms: String Quintet No. 2, Op. 111

Lieder by Schubert, Korngold, Marx, Tchaikovsky, Rachmaninoff

Final concert of the Académie Vocal Residency of the Festival d'Aix-en-Provence with Les Talens Lyriques, conducted by Korneel Bernolet

Verdi's Nabucco in concert with the Slovenian Philharmonic Orchestra, conducted by Gaetano Lo Coco.

Heinrich Ignaz Franz Biber — Sonata violino solo representativa‍

‍George Frideric Handel — "Sweet Bird" from L'Allegro, il Penseroso ed il Moderato, HWV 55

‍‍Franz Joseph Haydn — String Quartet No. 53 in D major, Op. 64, No. 5, Hob. III:63 "The Lark"‍

‍Aaron Copland — "I Bought Me a Cat" from Old American Songs‍

‍Claude Debussy — Prélude à l’après-midi d’un faune (“Prelude to the Afternoon of a Faun”)

‍‍Camille Saint-Saëns — Carnival of the Animals

Lieder by Schubert, Mendelssohn, Strauss, Marx, Tchaikovsky and Rachmaninoff

Lieder by Schubert, Mendelssohn, Strauss, Marx, Tchaikovsky, and Rachmaninoff

Tour of Wagner's Das Rheingold in concert with the Rotterdam Philharmonic Orchestra, conducted by Yannick Nézet-Séguin

Mahler's 4th Symphony with Ulster Orchestra, conducted by Daniele Rustioni

Mozart's Le Nozze di Figaro, conducted by Daniele Rustioni

Beethoven's Fidelio in concert with the North Carolina Opera, conducted by Arthur Fagan

‍

Mussorgsky's Boris Godunov, presented in its original 1869 version, conducted by Sebastian Weigle

Puccini's La Bohème with Verbier Festival Junior Orchestra, conducted by James Gaffigan