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Fantasio's name says it all. With an overdose of humor, craziness and creative energy, the title character navigates through every situation, no matter how tricky, and turns everything upside down. A wonderful role model for Anna Weber, an expert in musical comedies and their adaptations for the stage. Wherever she directs, tears of laughter and a breath of fresh air are guaranteed. For Wiesbaden, she has unearthed an unknown gem by Jacques Offenbach with "Fantasio" and has woven the premiere cast into her new version with a singer.

Restless, uprooted, searching for a void that no one can fill: Richard Wagner's powerful music invites us to analytically question the driven characters of his opera. In the new production, director Martin G. Berger focuses on the mysterious past of Senta, her father Daland and the Dutchman. Using retrospection and memory, the production delves deep into the story. Layer by layer, it reveals the patriarchal structures that overshadow the relationship between father and daughter and from which the grown-up Senta, now her own redeemer, tries to fight her way out. Alexandre Corazzola's stage design shows the surface of an idyllic family home and is transformed into a psychological space with the videos by Vincent Stefan.

We open the stage and leaf through the dance. Legends surround him. His changeable figure, this hasty traveler, is celebrated in song. The chroniclers draw from his inexhaustible source, the body, and write a new chapter in the book of movement.

The Italian opera classic as a gripping thriller: The singer Floria Tosca and her lover, the artist Mario Cavaradossi, find themselves in the crosshairs of police violence, political intrigue and deception. For the 125th anniversary of the opera, director José Cortés takes a close look at the well-known material and reveals the depths of human nature.

The wild hand puppets of puppetry master Nikolaus Habjan conquer the stage! In his celebrated production at the Theater Basel, everyone is drawn into the fast-paced, funny and sometimes darkly absurd game of confusion surrounding the barber Figaro. No one escapes the puppets - until the cheerful happy ending. A comedy for families as well as for a good evening with friends.

Beethoven’s 4th and Nielsen’s 5th symphonies share a strong tonal similarity: in both works, surprising gentleness can be found alongside rough, rugged landscapes – both in a delicate balance. Nielsen, who became an important representative of Danish late romanticism, especially with his orchestral music, found his most modern musical language in his symphony, which premiered in 1922. Robert Schumann once said of Beethoven’s Fourth from 1807 that it was the most romantic of his symphonies. Both compositions are comparatively rarely played in concert programs: Beethoven’s 4th Symphony is overshadowed by the preceding “Eroica” and the subsequent so-called “Symphony of Fate”. And Carl Nielsen is celebrated in Denmark and sometimes referred to as a national composer, but he is little known here.

A sophisticated story and timelessly good music are the best prerequisites for a successful comedy. With "The Marriage of Figaro", Mozart opened his trio of legendary master operas, all of which the composer wrote based on librettos by the Italian Lorenzo Da Ponte. The piece presents an everlasting love story, a playful and biting social satire - and yet all these descriptions fall short. Because "Figaro" is above all: a work of upheaval, a piece of stormy pressure for personal recognition and thus at the same time a timeless symbol of the individual's rebellion against the establishment.

A prince is condemned. Although Friedrich von Homburg was victorious in the Battle of Fehrbellin, he is punished by the king for disobeying orders. What does disobedience mean? How do group dynamics influence individual actions? And what consequences are we prepared to accept if we oppose an authority? Amir Reza Koohestani examines the political dimensions of Heinrich von Kleist's last play and places it in a popular context: football.

She received great enthusiasm for her dazzling, sophisticated music, and yet she performed almost exclusively within her own four walls: Barbara Strozzi, singer and one of the most exciting and productive composers before 1700.

The production sold out houses in Belgium, Luxembourg and France; now it is coming to the International May Festival in Wiesbaden. With a clever twist, the FC Bergman collective has transformed the exotic coastal landscape of the pearl fishers of Ceylon into a retirement home. The friends Zurga and Nadir used to be in love with the same girl. To save their friendship, they promised each other to suppress their feelings for Léïla. But now Léïla is returning, and long-suppressed anger, love and jealousy break over the men like huge waves. Past and present blur and can only be separated with difficulty.