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Scarpia, Rome’s chief of police, desires Tosca. Since her lover, the painter Cavaradossi, is among the government’s political enemies, Scarpia has him imprisoned. He orders Cavaradossi’s execution and hopes to force Tosca into granting him one night with her, in exchange for Cavaradossi’s release. She, however, thwarts his plans…

On the steps of the entrance foyer of the Hamburg State Opera, school classes can watch the musicians closely and intervene directly in the musical action with the help of emojis. The focus is on works from the chamber music repertoire.

What happens when, in times of war and destruction, even your own family becomes a battlefield and mistrust, desire and betrayal break out? The cruel, ingenious and at the same time megalomaniac King of Pontus, Mitridate, fights a hopeless war against the Romans, while his two sons are under pressure from their father and his fiancée Aspasia decides against her duty and in favor of her feelings and turns away from him. With Mitridate, the 14-year-old Mozart composed his first full-length opera seria according to all the rules of the time and at the same time a work in which his humanistic flair already shines through. In the arias, he gives the ensemble of singers ample opportunity to explore the depths of the human soul and display their vocal virtuosity. Preserving the essence of this historical operatic genre, but at the same time reinterpreting its form, the aim is to create something in which the orchestra is integrated both visually and in terms of content. In this way, the fate of the characters can be experienced directly through visible music-making.

The outsider Herman loves Liza, who is engaged to Prince Yeletsky. Herman is a passionate gambler: he is desperate to win a fortune and reputation in order to win Liza’s heart. When he learns that her grandmother knows the secret of the three winning cards, fate takes its course.

Dr. Kieron is a brilliant scientist, respected and feared by his colleagues. But what nobody suspects is that every night he is haunted in his dreams by three recurring beings, enigmatic numbers and mysterious symbols, which he experiences with unbearably intense feelings. It is from these apparitions that he receives his scientific visions - the fundamental basis of his success. He also leads a double life. A highly respected scientist by day, he dives into the shady underworld at night in a restless search for human happiness. But his control over himself is slipping away. In order to satisfy his irrepressible urge for scientific knowledge and an emotionally fulfilling life, Kieron wants to have his dreams analyzed and enters into an alliance with the diabolical master Astaroth, with fatal consequences. Unsuk Chin drew inspiration for her second opera from the life and work of the legendary physicist Wolfgang Pauli and his relationship with the psychiatrist Carl Gustav Jung. Faustian material for the 21st century.

At the zenith of his career as a board member of a major corporation, disaster suddenly befalls the former working-class son William Mallory. He crashes over a scandal and no longer understands the world. With suicidal thoughts, he fables on the couch with his psychiatrist about the stages of his rise. An opera as a chamber play that begins quietly, only to soon unroll the great themes of life - a parable about rise and fall, identity and betrayal, appearance and fate. In the end, Mallory realizes that his own illusions have brought him down. In the end, he no longer even knows whether it was an illusion that he once began his rise as a good man.

Inspired by his romantic love for Mathilde Wesendonck, Richard Wagner created one of the most beautiful operas in music history. This season, the Hamburg State Opera revives its legendary production by Ruth Berghaus of 1988.

Under the face of the wandering moon, spirit and body quarrel in all their greatness and wretchedness until the blood of two bodies flows. Strauss remains close to Wilde's re-creation of the biblical material, which leads Salome from her mother's tool to autonomy. It is she who, in her unfulfilled desire for the liberatingly different, the body of the prophet Jochanaan, seeks revenge and demands his head - a price the male-dominated society around Herod is willing to pay for their dance. Now that Salome holds his severed head in her hands, she can kiss Jochanaan, possess him if not alive, then dead. As if under a burning glass, Strauss pours Oscar Wilde's demonic dramaturgy into sound like an eruption of the psyche, accompanying his protagonist from her failed escape from the decadence of her existence to her death.

Hop! A little melody finds its way into a very eager orchestra. And of course everyone wants to play the melody! A terrible argument breaks out about this, until finally a little violin with the melody takes off. Luckily, the big, old bass violin immediately sets off to find the violin and its melody...

Why are we here? Are we loved? Have children someday? Graduate from school? And will there still be someone to remember us in 100 years' time? A group of young people looking for their way through perhaps the hardest time of their lives. Driven by the feeling of loneliness and the longing for closeness, by ignorance and boundless curiosity, by pressure to perform and sheer despair, they struggle through the school year: Moritz, Melchior, Wendla and their classmates. They experience violence, abuse, death and a small spark of hope for all the survivors (perhaps also the dead). Wedekind's drama is more than a coming-of-age drama, it is a reckoning with the society of its time, an unsparing story that has lost none of its revolutionary power to this day and will be unleashed in a new and contemporary way through music in this world premiere.