Stage Director

The freedom-loving Carmen is desired by all men. Although none of their relationships last, the soldier Don José falls madly in love with her after she coquettishly throws a flower at his feet.

Carmen

Vienna State Opera

EPSG:4326

Teatro La Fenice

Aida is a slave at the Egyptian court. She is the king’s daughter from the enemy country of Ethiopia but has fallen in love with the Egyptian military leader Radamès. Her father Amonasro uses her to learn about the military strategy of his adversaries. Meanwhile, Amneris, the Egyptian king’s daughter, uses everything in her power to fight for her love for Radamès and tries to kill her rival. Everyone is at the mercy of a ruthless cartel of priests and warriors.

Aida

Bebelplatz

Dressed as a man and calling herself “Fidelio”, Leonore surreptitiously gains the confidence of the jailer Rocco and his daughter Marzelline, thus gaining access to the high security tract where her husband Florestan has been despotically incarcerated by Don Pizarro. Florestan is in mortal danger, but this does not intimidate his wife, who is determined to liberate him. Finally, however, the two of them can only be rescued by an emissary from the monarch. At the end, a Utopia in the form of a final chorus sets the stage aglow, not only as a plea for freedom and justice, but also concurrently as a condemnation of the anxieties and restrictions of human existence.

Fidelio

Max-Joseph-Platz

He deserts, renounces a budding relationship with Micaëla, a girl from his village, and joins Carmen's band of smugglers. This time too, Carmen's feelings grow cold and she is only interested in the bullfighter Escamillo. An argument between Don José and Carmen escalates in front of the arena: Filled with jealousy, Don José kills his former lover.

Elsa von Brabant is accused of murdering her brother. No one dares prove the young woman’s innocence in this mysterious case. Trapped in a reality that no one seems to share with her, a man enters her life promising to fight for her cause – on one condition: Elsa must trust him blindly and never ask him his name or birthplace.

Lohengrin

The survival of the Holy Grail’s community is threatened by King Amfortas‘ wound which he received by the magician Klingsor. The only hope that the men have left now is the arrival of a so-called »innocent fool«, who has to become »knowledgeable by empathy«. Parsifal is the chosen one, but is unaware of his appointment as the redeemer of their plight. The seeress Kundry takes it upon her to show him his destiny.

Parsifal

The Staatstheater Stuttgart

Sir John Falstaff is an anarchist who obeys only the reign of his own enjoyment, an egoist who feeds only his power-hunger and his own flesh, and who would prefer to raze the small-minded morals of his contemporaries like the walls of a fortress – by seducing two women at the same time. Needless to say, his plan is thwarted, but those trying to expose him also fail to emerge unruffled from the confusion they unleash around him – which only the audience can keep track of, barely. “Tutto nel mondo è burla,” but these jokes are only funny because falling into the abyss actually does pose quite a serious risk. Arrigo Boito, the librettist of “Otello”, distilled a sophisticated, ingenious libretto from Shakespeare’s original, driving Verdi to highly complex compositional heights.

Falstaff

Staatsoper Hamburg

The first two people on earth were in love. The third man killed the fourth. Die ersten Menschen tells the story of the first family in the Biblical history of humanity: Adahm and Chawa and their sons Kajin and Chabel. After the successful performances of the work during the corona pandemic, Rudi Stephan's unknown work, but 'excavated' by Dutch National Opera, returns in full glory.

Those first people

National Opera & Ballet

The first two humans on Earth fell in love. The third human murdered the fourth. Die ersten Menschen tells the story of the first family in the Biblical history of humanity, Adahm, Chawa and their two sons Kajin and Chabel. After performances in the midst of the COVID pandemic, which were highly praised by public and press alike, this ‘rediscovered’ work by Rudi Stephan is now returning to Dutch National Opera in all its glory.

Die ersten Menschen

Although W. A. Mozart wrote Idomeneo to commission for the Munich court and Karl Theodor, Elector of Bavaria, a keen patron of the arts, who chose the subject himself, the opera is probably his most personal work (with the patriarchal system of blind obedience and a rebellion of the young seeming to evoke the composer’s tense relationship with his father Leopold), featuring excellently crafted characters. All the main protagonists are confronted with their own weaknesses or inability to defy fate. In the wake of the Trojan War, Idomeneo, King of Crete, made a fateful vow to Neptune, God of the Sea, to be executed should he arrive home safely. Just like the Old Testament’s Jephthah and Abraham, he faces the dilemma of whether to sacrifice his own child or to offend a god. Idomeneo ultimately yields, ready to kill his son, Idamante. Prince Idamante is in love with Ilia, daughter of Priam, the defeated King of Troy, who has lost her family and homeland in the war. Ilia is fond of Idamante, but hesitates to acknowledge her love of an enemy, whose father Idomeneo helped Achilles and Odysseus take Troy. Elettra, daughter of Agamemnon, King of Mycenae, is wildly jealous of Ilia, and intends to win Idamante at any cost. Mozart rendered the heroes’ extreme emotions by means of ravishingly powerful music. He and the librettist Giovanni Battista Varesco ended the Ancient Greek story happily: Idomeneo’s old order gives way to the rule of love and reason, with Idamante and Ilia ascending the throne.

Idomeneo

State Opera

Although many in his homeland still consider Leoš Janáček a difficult modernist, all over the world he has long been esteemed as a truly singular classical genius. His opera Katya Kabanova, based on A. N. Ostrovsky’s drama The Storm, deeply impresses every perceptive viewer due to its immense emotionality, attesting to Janáček’s extraordinary empathy. The title heroine, with her dreamy, amorous and heart-wrenching states of mind, is placed in stark contrast with the savage behaviour of those around her. The desperate Katya ultimately finds the solution to her inner conflict between desire and social obligation in the water of the river Volga. The National Theatre in Prague first performed Janáček’s opera a year after its world premiere in Brno in November 1921.

Katya Kabanova

National Theatre Prague

Deeply moved by Oscar Wilde’s play, Richard Strauss changed the course of music history with his intense, frantic eponymous opera. The set is King Herod’s Palace; young Salome is infatuated and rejected by Prophet Jochanaan, and, desperate to kiss him at all costs, subsequently asks for his severed head. The expressionist libretto drawn from this mysterious plot is both sensuous and dramatic. As an object – and mostly a subject – of desire, Salome’s magnetic quality is gradually unveiled. The piece, written at the turn of the 20th century, reads like a discovery of the subconscious mind or an exploration of urges. The hypnotic score is replete with unique colours and sounds; Strauss pushed the very limits of music in his time, at the risk of breaking the norms. The lead must be sung by a mesmerising performer, both in terms of voice and presence.

Salome

Opéra National De Lyon

Isolde loves Tristan, and Tristan loves Isolde. A love with no alternative, no chance, because Isolde is to marry King Marke in order to seal the peace between Ireland and Kareol.

Tristan und Isolde

The German composer Richard Strauss based Salome, one of his most celebrated operas, on Oscar Wilde’s eponymous tragedy. The first to portray the title role in the play was the famed French actress Sarah Bernhardt (her company gave four performances at the National Theatre in Prague), whose art also contributed to the popularity of other dramas  (Tosca and Madame Sans-Gêne), subsequently adapted as operas.

Stage Director

Calixto Bieito

Events

Upcoming events

Jun 1, 2026 - May 7, 2027

Carmen · Wiener Staatsoper

12 - 28 Nov, 2026

Idomeneo · Národní divadlo

Jan 31, 2027

Katya Kabanova · Národní divadlo

Mar 19 - Apr 4, 2027

Salome · Opéra National De Lyon

Mar 19 - Apr 4, 2027

Salome · Opéra National De Lyon

Past events

Jun 1, 2026 - May 7, 2027

Carmen · Wiener Staatsoper

May 24 - Jun 3, 2026

Carmen · Teatro La Fenice

About

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