Dramaturge

Dora is in her mid-twenties and stuck in the sheltered surroundings of her family. Though she still has her whole life ahead of her, she suspects that the future has only the same old worn and well-known ideas to offer than before. Dora, the 21st century’s new heroine of opera, meets her present with total rejection and finds herself in aimless search for something different. Bernhard Lang's rhythm-driven music becomes Dora’s accomplice. In his opera about a longing for something radically new, Lang and librettist Frank Witzel playfully mix varying sounds from different musical epochs whilst laying tracks to centuries old characters, myths and stories.

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Dora

The Staatstheater Stuttgart

Celebrations are states of exception where everyday life gets transformed. Even at its very beginning the musical form of opera had a close liaison with festivities. But because the once exclusive festive music should now belong to everyone, we invite you to join us for a celebration in the opera house. In his first staging of a music theatre, Eric Gauthier explores the reasons why and how people celebrate. Together with singers, dancers, choir and orchestra, the audience journeys through the various kinds of a lifetime’s festivities. On the playlist: two centuries of vocal and dance music, including unheard rarities.

The Fest

Fyodor Dostoyevsky was certain that the secret to winning was surprisingly simple: “to control oneself every minute, regardless of the ups and downs of the game, and not to fall into passion.” Despite this knowledge, Dostoyevsky gambled away all his money and that of his lover at the roulette tables of German health resorts - gambling was forbidden elsewhere - which brought them both to the brink of destitution. Nevertheless, he capitalized on his experiences of loss: in 1866, he freed himself from an extortionate publishing contract with the novel The Gambler, which he wrote under great pressure. And on top of that, he delivered a study of his own (gambling) obsessions.

The Gambler

Gold or love? At the beginning of the tetralogy there is a momentous choice that, strictly speaking, is not a choice. Because Alberich is denied love, he renounces it forever and takes possession of the glittering raw material, which, forged into a ring, promises dominion over all creatures. With this cardinal error, Wagner sets his great world narrative in motion, in which others will also - even if briefly - exchange love for the prospect of gaining power, which sooner or later leads to collapse. Stephan Kimmig shows the mythical beginning as a sad, grotesque end-time game. Gods, giants and dwarves meet in the ruins of a night circus: a playground for exploring dizzying heights and fears of falling, but also a metaphor for a world stuck in a frantic standstill, where three Rhinemaidens of the post-millennial generation are undeterred in their search for ways into the future.

Dramaturge

Miron Hakenbeck

Events

Past events

Mar 23 - Apr 8, 2025

Dora · Staatsoper Stuttgart

Feb 22 - Jun 21, 2025

The Fest ·

About

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