Singer

Like a painting brought to life: within a transparent structure, the vibrant Paris of the nineteenth century comes to life, forming the backdrop of an unforgettable story of love and friendship. The most recent Arena production of La Bohème, designed by Alfonso Signorini, returns to the Arena di Verona for four nights.

La Bohème

Arena di Verona

"Luisa Miller" is Giuseppe Verdi’s third setting of a play by Friedrich Schiller. “It is a great drama, full of passion and very effective in theatrical terms,” the composer wrote to the librettist Salvadore Cammarano about “Kabale und Liebe”...

Luisa Miller

Hamburg State Opera

"The success was tremendous and unprecedented! Critics, artists, amateurs and music lovers were intoxicated ... The auditorium roared apart, loudly proclaiming the new miracle." Thus a report on the premiere in 1821 at the Berlin Schauspielhaus. Der Freischütz struck a chord with the times, every barrel organ played the "Jungfernkranz", every street singer performed it, as Heine reports.

The Marksman

For Leonora, the song of the troubadour Manrico holds the promise and glow of love; Manrico's rival Count Luna perceives in it threat and danger. Verdi's opera is a celebration of Italian opera singing at its best - so it is no coincidence that the title character is a singer himself.

The Troubadour

On the fiftieth anniversary of Shostakovich's death, La Scala opens its season with his masterpiece, Lady Macbeth of the Mtsensk District , based on Nikolai Leskov's story in which a young bride, with the complicity of her lover, kills her husband and tyrannical father-in-law, but is discovered and ends up committing suicide in Siberia, betrayed by all. After its debut in St. Petersburg, the opera, which was intended to be the first chapter of a trilogy on the condition of women in Russia, was enormously successful at home and abroad. Stalin attended a performance in Moscow in 1936; two days later, the famous criticism in Pravda, titled "Chaos Instead of Music," appeared, decrying both the opera and the composer. Years later, Shostakovich prepared a new version, which premiered in Moscow in 1963 under the title Katarina Izmailova , after Superintendent Ghiringhelli had unsuccessfully attempted to secure its premiere at La Scala. Today, the Theatre presents the 1934 version, conducted by Maestro Chailly and featuring the debut of director Vasily Barkhatov.

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A Lady Macbeth of the Mtsensk District

Teatro alla Scala

A REDISCOVERY - NATIONAL EPIC OR FAIRYTALE OPERA ABOUT THE FIGHT AGAINST EVIL?

Who is good and who is evil in this fairytale opera - and why? The nucleus of Pushkin's setting of Ruslan and Lyudmila by Mikhail Glinka is the abduction of the princess's daughter Lyudmila from Kiev, the center of both the Russian and Ukrainian founding myths. For Ruslan, the warrior promised to her, this marks the beginning of an adventurous journey through the magical realm of a powerful dwarf. The rescue operation escalates into a showdown between the men fighting for Lyudmila. But she herself increasingly becomes a distant vision of love - the longed-for prize for heroism. In 1842, in the midst of the awakening Russian national sentiment, Glinka conceived the idea of a culturally united tsarist empire, in which he merged Slavic, Finnish and Arabic melos with the bel canto fashion of his time.

Ruslan und Ljudmila

Chamber Concert Roslavets · Kremer · Rysanov · Dirvanauskaitė · Kissin

House for Mozart

"How can you say why you love something? You don't need reasons, you just love." Evgeny Kissin is irritated by the question of why he loves Dmitri Shostakovich. He owes this to his parents, who had a recording of his 1st Piano Concerto in their record cabinet. Young Evgeny fell in love with this music immediately. A love that continues to this day and that will shape both of the portrait artist's concerts at the Ruhr Piano Festival 2025 - the year that marks the 50th anniversary of Shostakovich's death. 

Ruhr Piano Festival

Anneliese Brost Musikforum Ruhr

Maria and Elisabetta: two queens fight for power and love. Between them stands Count Leicester, Elisabetta's lover, who is attracted to Maria. The two women meet in the park of Fotheringhay Castle - a duel of emotions, fought with the weapons of bel canto, coloratura on a knife's edge. In the end, the Catholic Maria will ascend the scaffold with her head held high, while the Protestant Elisabetta will keep her throne but lose her love.

Maria Stuarda

Staatsoper Hamburg

Young Tatyana falls in love with Eugene Onegin, and confesses her love for him, against all convention. When he pretends that marriage is not for him, she weds Prince Gremin in haste. After many years, Tatyana and Onegin meet again, but their belated confession of mutual love cannot bring them back together.

Eugene Onegin

This opera is the world in a theatrical nutshell: it deals with growing older, with trials and tribulations, with intransparent decisions. One person searches for individuality, another is too lazy to do so. Others postulate that the community is the only adequate place for the individual. Power has either been legitimised by long tradition or usurped by new regimes. Values such as assimilation and loyalty are set against self-assertiveness and independence. There is loving and dreaming, cheating and trusting. Suicides are prevented, tests passed, adventures survived. Who is right? Who has been wronged? The world of the magic flute is opaque, and everyone is looking for a pathway: within it, into it or out of it. Who holds the reigns? Who can be trusted? Could it be music?

Die Zauberflöte (The Magic Flute)

Three composers cry out in the void. The London Philharmonic Orchestra continues its exploration of memory, in works by Schoenberg, Shostakovich and Weinberg.

A Dark Century

Southbank Centre

In the beginning was a murder. Before, after, and in between: women — Italian, German, French, Spanish women, chambermaids, countesses, peasants, princesses, blonde, brunette, pale, fat, thin, old, rich, ugly, beautiful women — no matter, as long as they are female. Special preferences: young and inexperienced. So much tolerance! Thank you, noble Don, hero of equality. How would you like a women’s movement? Or we could simply wait until the ground opens up to swallow the murderer … It is the last moment; an unavoidable downfall. Don Giovanni, libertinage incarnate, has no place in the realm of reason. It is social progress which throws moral permissiveness into the jaws of hell.

Don Giovanni

The years between the death of Ivan the Terrible and the ascension of the Romanov family to the throne are known in Russia as the “Time of Troubles”. During this time, Boris Godunov strives to gain power with an iron determination. However, the ghosts of the past catch up with him and he dies a madman, abandoned and betrayed by everyone. In the meantime, the country sinks ever deeper into corruption, putsches and intrigue. A new “Time of Troubles” dawned during Modest Mussorgsky’s lifetime: the old order faltered and could not survive, everyone felt it. During a period of political upheaval and shaken by dramatic developments in his private life, Mussorgsky created a work about the arrogance of power and the eroticism of betrayal – as contradictory and fascinating as his personality itself.

Boris Godunov

A usurping tsar, a desperate people, and Mussorgsky's pen to spice up this chapter of Russian history reinterpreted by Pushkin. With its action refocused around key characters, the original version of Boris Godunov (1869) focuses attention on the tyrant's madness and his relationship with power. Olivier Py directs and restores the work's burning modernity. The Orchestre National de France accompanies a formidable cast, including Matthias Goerne for his debut in the title role.

Boris Godunov, Andris Poga

Théâtre des Champs-Élysées

Pyotr Ilyich Tchaikovsky never had any illusions about the subject he wished to set to music for his fifth opera, Evgeny Onegin by Alexander Pushkin. On several occasions, he shows himself aware of the presence of “very few stage effects, very little action” in a libretto made up of many “lyric scenes” (as he would later subtitle the opera) depicting life in 19th-century Russia, from jam-making in the countryside to a searing farewell dialogue in a palace in Saint Petersburg. What interests him is the powerful “inner drama” so well expressed in Pushkin’s verses—verses that he largely preserves. He is interested in the characters and their human condition: Onegin’s restlessness, Lensky’s “poet’s soul,” and above all the feelings that stir a woman: “I am in love,” he confesses, “with the character of Tatiana.” Anyone familiar with Tchaikovsky’s life can imagine why he felt so close to this melancholic girl, noble in spirit and destined to see all the love overflowing from her remain unfulfilled. It is no coincidence that the “Letter Scene,” in which she is the protagonist, is considered one of the composer’s peaks, capable here of expressing through music a whirlwind of otherwise inexpressible emotions. Yet every detail of this opera is of such beauty that, contrary to expectations, it has become Tchaikovsky’s most frequently performed work since its premiere in 1879.

Bass

Alexander Roslavets

Events

Upcoming events

15 - 29 Jun, 2027

Eugene Onegin · Teatro Regio Torino

Past events

3 - 25 Jul, 2026

La Bohème · Fondazione Arena di Verona

May 24 - Jun 5, 2026

Luisa Miller · Staatsoper Hamburg

Future and recently performed repertoire

Colline in La bohème by Puccini

Fondazione Arena di Verona

Il principe Gremin in Onegin by Tchaikovsky

Teatro Regio Torino

Sarastro in Die Zauberflöte by Mozart

Staatsoper Hamburg

The Commander in Don Giovanni by Mozart

Staatsoper Hamburg

Fürst Gremin in Eugene Onegin by Tchaikovsky

Staatsoper Hamburg

Wurm in Luisa Miller by Verdi

Staatsoper Hamburg

Boris Godunov in Boris Godunov by Mussorgsky

Orchestre National de France

Varlaam in Boris Godunov by Mussorgsky

Staatsoper Hamburg

Bass in Four Verses of Captain Lebyadkin by Shostakovich

Salzburger Festspiele

Talbot in Maria Stuarda by Donizetti

Staatsoper Hamburg

Swetosar in Ruslan and Ludmila by Glinka

Staatsoper Hamburg

Ferrando in The Troubadour by Verdi

Staatsoper Hamburg

Caspar in The Marksman by Weber

Staatsoper Hamburg

Boris Timofeevich Izmailov in A Lady Macbeth of the Mtsensk District by Shostakovich

Teatro alla Scala

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