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La Traviata, Staatstheater Braunschweig, Alexander Joel Part2

La Traviata, Staatstheater Braunschweig, Alexander Joel Part 1

Long live freedom! In 1848, when Albert Lortzing wrote his impressive last opera "Regina", was a revolution. And that is exactly what the work, which Lortzing named after his wife, is about: Two politically active factory workers love Regina, the daughter of the factory owner Simon. But they belong to different camps. One of them, Stephan, is a radical rebel who occupies the factory and holds Regina in his power. However, she is engaged to the more peace-loving Richard. In the end, all their lives and the awakening harmony lie in Regina's hands. Lortzing's revolutionary opera was kept under lock and key and censored for a long time. Perhaps its time has now come once again: Time for peace and freedom.

Regina

Oper Leipzig

With Tristan und Isolde, Richard Wagner created his most radical and most sensual opera. Two lovers are drawn into a whirlwind of desire and passion. Their only possible salvation is death. Wagner wrote a timeless, eternal “infinite melody,” or “infinite melody,” that would forever irrevocably change the course of music history.

Tristan and Isolde

La Traviata is the final work in the Trilogia Popolare, Verdi's trio of masterpieces written between 1850-52. Once again, he was inspired by an outsider: after the jester in Rigoletto and the gypsy Azucena in Il Trovatore, the courtesan Violetta Valéry -- a woman whose charm surpasses her predecessors -- takes center stage here. The Parisian demimonde is the setting for the story of the unconditional and hopeless love between Alfredo Germont and the terminally ill Violetta. From the very beginning, their love is threatened not only by death, but also by the norms of society and the honor of a family.

La Traviata

Embark with us on a musical journey around the world and welcome the New Year with splendour, passion, and joie de vivre. The ensemble of Oper Leipzig will take you from Spain to Russia, from the USA to South America – and of course, to the glittering home of Viennese operetta.

New Year's Eve Gala

On December 10, 1895, the “Club La Bohème” met for the first time. The club – an irreverent artist's guild of literary types and painters – reminded Giacomo Puccini of his years both as a student and as a bohémien. While his friends drank wine and played cards, Puccini composed. One day, he suddenly cried out from his spot at the piano "Quiet, boys! I've finished!" Shortly thereafter, the full score of this legendary opera was finished, and the show, with its wonderful love story between Mimi and Rodolfo, was on stage. Without ever visiting Paris, Puccini captured the city's atmosphere, from the flair of its cafes to the bleak frost of a winter's day. His clear characterization of the opera's protagonists and their sense of emptiness sets the characterizations of desperation and loss, not to mention the opera's central theme of love. In the end the characters are even more lost, in doubt and alone.

La Bohème

On Sunday, November 23, 2025, at 11:00 a.m., the Leipzig Opera will present a new publication in the concert foyer of the opera house. For the first time, this publication compiles biographical information and facts about the creative minds and voices of its artists who were silenced with the Nazi seizure of power in 1933. Musicologist Dr. Allmuth Behrendt has undertaken a unique research project, tracing the often-forgotten biographies of artists from Leipzig's musical theater and compiling her findings into a book. The matinee will be accompanied by songs by Gustav Brecher and Wilhelm Rettich, sung by Gabrielė Kupšytė and Matthias Stier, with Samuel Emanuel at the piano.

Celebrated and forgotten?

Welcome to the mysterious fairy-tale world of the »Magic Flute«! Even the names of the characters sound magical and remind us of our first visits to the opera: Tamino, Pamina, Papageno, Sarastro … Hardly any other work of opera literature includes so many contradictory elements, so harmoniously combined into a coherent entity by Mozart's music. Is his arguably most popular opera an adventure story about growing up? A parable of wisdom, philosophy and friendship? Is it simply about staying true to oneself, like the bird catcher Papageno? He accompanies Prince Tamino, who has fallen in love with a picture of the kidnapped Pamina and plans to free her. We are reminded that the world cannot always be divided into good and evil: the Queen of the Night and Sarastro illustrate this to us through their quarrel over Pamina. On our journey we are also accompanied by three ladies, three boys, a glockenspiel, and a flute that tames even the wildest animals.

The Magic Flute

Sir John Falstaff is a man who wants it all: money, power, women, pleasure – and control. But in Giuseppe Verdi's opera, it is the women who call the shots. Alice Ford, Meg Page and Mrs Quickly confront Falstaff's audacity with wit and ingenuity, challenging an order that tries to force them into rigid roles and monotonous dreariness.

Falstaff

“Casta Diva” – “Chaste Goddess”. With this famous cavatina, the priestess Norma commands the population to remain peaceful in the fight against the Roman occupiers. However, Norma herself is conflicted, having broken her vows and secretly being a lover and mother. She leads a double life, as do her lover, the Roman general Pollione, and the novice Adalgisa. All these dangerous secrets escalate into a drama of life, death, and the sacrifice of love in the face of conflicts over occupation and Roman supremacy. It is said that all weapons are fair game in war – even those that strike at the heart and destroy all that we love?

Norma

To what lengths may a person to go to free themselves from terrible circumstances? The young Katerina, married into wealth yet lonely nonetheless, imprisoned in a mercilessly cold world dominated by men and controlled by its police force, is longing for something more. She is forced to hide her joie de vivre on account of her tyrannical father-in-law, and suppress her desires for love because her husband is impotent and distant. When he is away and the bravado Sergei starts working on the farm, she seems to have found a way out of this dull situation devoid of action. But in the end, four people are dead, including a murderess. Premiered in Leningrad in 1934, the acclaimed opera was intended to further fuel the promising career of the then 24-year-old Dmitri Shostakovich. But one visit to a performance by Stalin was enough for him to suspect the celebrated star of being a potential enemy of the regime. From then on, Shostakovich was forced to live and compose in oppressive fear. Yet where words are forbidden, his musical world simmers, sizzles and lies in wait to explode at the next touch.

Lady Macbeth von Mzensk

Two things must be known about Undines, aquatic beings in feminine form; first, they can only attain an immortal soul by marrying an earthly man. Second, if Undine's love is betrayed, she must kill the unfaithful man. When the knight Hugo falls in love with Undine, it seems that happiness is perfect at last, the wedding bells ring, the village rejoices and celebrates. But then Bertalda appears and the lake's water level ominously begins to rise.

Undine

The opera has barely gotten underway before the first death occurs and Don Giovanni is in hot pursuit. But this does not stop the seducer of all seducers from going after the next woman: he adores them all! His wildly colourful exploits sweep him through all social strata, regardless to whether the lady of choice is already involved with someone else. Even if one may have slight doubts when it comes to the total number of his conquests – 1470! – Don Giovanni's appeal amongst women is undeniable. But what exactly is his secret?

Don Giovanni

When Salome had its world premiere in 1905, it marked the beginning of Richard Strauss’ operatic successes. Based on Oscar Wilde’s sensational tragedy, Strauss composed a musical drama rife with unleashed passion, whose worldwide success not even prudish censors could stop. Using one of the most scandalous stories in cultural history, whose origins lie in the New Testament, Strauss created a musical and stunning psychological profile of the unconscious, laying bare the conflict between sensuality and asceticism, between intoxication and loneliness, power and love.

Salome

Rising from raging, fierce tempests of the sea stands a triumphant hero: Otello! The illustrious general is in love with the enchanting Desdemona. Against her father's will, she frees herself from the golden cage and now loves the man who dazzles so brilliantly amidst the splendor of society, yet remains so distant. As Jago takes the stage and plants seeds of doubt, jealousy begins to grow in Otello.

Otello

La Traviata is the final work in the Trilogia Popolare, Verdi’s trio of masterpieces written between 1850-52. Once again, he was inspired by an outsider: after the jester in Rigoletto and the gypsy Azucena in Il Trovatore, the courtesan Violetta Valéry -- a woman whose charm surpasses her predecessors -- takes center stage here. The Parisian demimonde is the setting for the story of the unconditional and hopeless love between Alfredo Germont and the terminally ill Violetta. From the very beginning, their love is threatened not only by death, but also by the norms of the society and the honor of a family.

The brave knight Amadis is held responsible for the disappearance of the brother of Arcabonne and Arcalaus. The two use their magical powers and mobilize the demonic underworld to lure Amadis into their realm and defeat him once and for all. Suddenly, nothing is as it seems: Amadis is abandoned in the forest by his beloved Princess Oriane and held captive in Arcalau's secret laboratory. All seems lost... but fortunately the powers of heaven have something to say about it.

Amadis, the Knight

“Casta Diva” – “Chaste Goddess”. With this famous cavatina, the priestess Norma commands the population to remain peaceful in the fight against the Roman occupiers. However, Norma herself is conflicted, having broken her vows and secretly being a lover and mother. She leads a double life, as do her lover, the Roman general Pollione, and the novice Adalgisa. All these dangerous secrets escalate into a drama of life, death, and the sacrifice of love in the face of conflicts over occupation and Roman supremacy. It is said that all weapons are fair game in war – even those that strike at the heart and destroy all that we love

Welcome to the mysterious fairy-tale world of the »Magic Flute«! Even the names of the characters sound magical and remind us of our first visits to the opera: Tamino, Pamina, Papageno, Sarastro … Hardly any other work of opera literature includes so many contradictory elements, so harmoniously combined into a coherent entity by Mozart's music . Is his arguably most popular opera an adventure story about growing up? A parable of wisdom, philosophy and friendship? Is it simply about staying true to oneself, like the bird catcher Papageno? He accompanies Prince Tamino, who has fallen in love with a picture of the kidnapped Pamina and plans to free her. We are reminded that the world cannot always be divided into good and evil: the Queen of the Night and Sarastro illustrate this to us through their quarrel over Pamina. On our journey we are also accompanied by three ladies, three boys, a glockenspiel, and a flute that tames even the wildest animals.

Rienzi, Wagner's third opera, was once his greatest success. The performance in Bayreuth is a unique opportunity to rediscover Wagner's early triumph – in a place where it has never been heard before.

Tenor

Matthias Stier

Events

Upcoming events

Jul 26 - Aug 26, 2026

Rienzi · Bayreuther Festspiele

Past events

Apr 25 - Jun 12, 2026

Regina · Oper Leipzig

Mar 29 - Apr 11, 2026

Tristan and Isolde · Oper Leipzig

Future and recently performed repertoire

Alfredo Germont in La traviata by Verdi

Oper Leipzig

Cassio in Otello by Verdi

Oper Leipzig

Flavio in Norma by Bellini

Oper Leipzig

Sinowij Borissowitsch Ismailow in Lady Macbeth of Mtsensk by Shostakovich

Oper Leipzig

Narraboth in Salome by Strauss

Oper Leipzig

Rodolfo in La bohème by Puccini

Oper Leipzig

Tamino in The Magic Flute by Mozart

Oper Leipzig

A young sailor in Tristan and Isolde by Wagner

Oper Leipzig

Alfredo Germont in La traviata by Verdi

Oper Leipzig

Don Ottavio in Don Giovanni by Mozart

Oper Leipzig

Baroncelli in Rienzi by Wagner

Bayreuther Festspiele

Fenton in Falstaff by Verdi

Oper Leipzig

Ritter Hugo von Ringstetten in Undine by Dvořák

Oper Leipzig

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