Costume Designer

Set Designer

Few operas have more to say about remaining true (to yourself) in matters of art and love than Ariadne auf Naxos: should you cling to the one you love unconditionally, or remain open to new loves?

Ariadne auf Naxos

Bebelplatz

A harrowing and powerful opera inspired by true events of the French Revolution.

The contrast between the quiet life of a convent and the sweeping, destructive forces of revolution lies at the heart of Poulenc’s opera, which is inspired by real events from the French Revolution.

Dialogues des Carmélites

Royal Danish Opera

Introductory talks (in German) in the Holzfoyer 30 minutes before curtain up, available here shortly after opening night and everywhere where podcasts are to be found.

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Amor vien dal destino

Oper Frankfurt

She lives in the here and now, one of the best-known heroines in operatic history, she makes sergeant Don José lose his mind, throwing his life into confusion. His attempts to make her tow the line fail because she can’t be tied down. They gradually drive each other into corners. Bizet’s music brings the differences in their perceptions of love and relationships into contrast again and again: Their downfall starts with light-hearted operetta music, but ends in tragedy. Barrie Kosky’s production quickly achieved cult status after it blasted onto the stage in  2015, and has lost none of its impact, taking the most performed opera in the world back to its roots - Opéra comique. The story’s interspersed and told using concise texts, steering us towards its tragic end. En route, romantic, amusing moments and wonderful dance routines share the stage. Kosky’s vision is fascinating, toying masterfully with usual Carmen and Spanish clichés.

Carmen

Envy and hatred reign in Saul's heart. For he perceives in David a rival for the throne: After David's victory over the giant Goliath, King Saul finds himself compelled to welcome David into his house and to honour him as a hero. When his son Jonathan and his daughter Michal side with David, and eventually even his daughter Merab acknowledges the universally celebrated hero, Saul finally decides to remove David from his path. However, David enjoys divine protection. Instead, it is Saul whose star threatens to set. With SAUL, George Frideric Handel turned to a biblical subject from the Old Testament. The subject matter was certainly controversial, as around twenty years before Handel’s arrival in London, Parliament, during the “Glorious Revolution” of 1689, had offered the British crown to William III of Orange and Mary II in order to put an end to the rule of the absolutist King James II. Georg Friedrich Handel had so far achieved one box office hit after another in London, primarily with his serious operas. However, the audience gradually seemed to be tiring of Italian opera. Thus, Händel set out in search of new paths in musical theatre. The genre of the oratorio, which he had become acquainted with during his time in Rome from 1706 to 1709, seemed suitable for this purpose. And indeed, the premiere of SAUL on 16 January 1739 at the Haymarket Theatre in London was a success, not least due to the gigantic choral numbers and the English national language in which it was sung. That SAUL is also dramatic, stage-effective musical theatre is demonstrated by the numerous musical effects with which Handel brings the story of the tormented King Saul to life. From triumphal choruses to whispers of witches to the funeral march that is still played today at state funerals worldwide. The acclaimed production from the Glyndebourne Festival, in Barrie Kosky’s opulent and profound direction, presents the Old Testament fable of envy and resentment set in London during the Georgian era, when indulgence and misery, popular entertainment and humiliation existed side by side. At the podium of the Gürzenich Orchestra stands Rubén Dubrovsky, who has already demonstrated his flair for Baroque music in Cologne with GIULIO CESARE IN EGITTO and ORLANDO.

Saul

Cologne Opera

When Don Giovanni tries to escape his pursuers and conceal his deeds, things get dicey. But in the end, he is called to account by a supernatural force and dragged to hell, while everyone else reflects on the transience of power and the justice of fate. The opera is a captivating portrayal of love, seduction, revenge and moral responsibility.

Don Giovanni

Vienna State Opera

In this great musical on the stage of the Schillertheater, director Barrie Kosky proves himself to be a master of the macabre. A musical thriller from Stephen Sondheim that is as bitter as it is lustfully gruesome, about the bloody revenge of the legendary London hairdresser Sweeney Todd. At the side of the title character as the meat pie queen Mrs. Lovett: Dagmar Manzel!

Sweeney Todd

Schiller Theater

All peace is followed by war, behind all happiness awaits disaster. Tragedy also shares this universal view, and in his grand opera “Les Troyens”, Hector Berlioz presents it in the face of two women: Cassandra and Dido lose their personal happiness, as it has no place in the struggle between the peoples and heroes, and ultimately lose their life. In the first part of “The Trojans” the seeress Cassandra proclaims the fall of Troy. Being the only one to do so, none believe her. With her entire people, she falls victim to the Greeks’ stratagem. In the second part, Berlioz puts Dido, Queen of Carthage, at the centre of the piece. Her love for the Trojan hero Aeneas turns to hate when he leaves her to found a new Troy.  Berlioz wrote the libretto loosely based on Vergil’s Aeneid. He went his own way with the music, which was never performed in its entirety while the composer lived, to produce grand opéra, spectacular choirs and ballets, along with new form experiments. Les Troyens remains a challenge for musical theatre to this day, and is indeed one of the monumental conceptual pieces of the previous century.

Les Troyens

Nationaltheater

Human weakness. Divine destruction. The Royal Opera's Handel series continues with Barrie Kosky's new production. Laurence Cummings conducts Anthony Robin Schneider, Paula Murrihy, Mingjie Lei, Mary Bevan and Avery Amereau.

Costume Designer, Set Designer

Katrin Lea Tag

Events

Upcoming events

19 - 30 Jan, 2027

Don Giovanni · Wiener Staatsoper

Jun 18 - Jul 9, 2027

Hercules · Royal Opera House

Past events

17 - 23 Apr, 2026

Ariadne auf Naxos · Staatsoper Berlin

Feb 8 - Mar 10, 2026

Dialogues des Carmélites · Royal Danish Opera

About

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