Singer

The story of Cinderella, her evil stepsisters, her malign stepfather and her eternal quest for happiness. It all begins with hassles and endless coloratura. But then: Prince Charming arrives! The legendary, effervescent production by Jean-Pierre Ponnelle is today a chapter of operatic history: a priceless legacy.

La Cenerentola

Max-Joseph-Platz

La traviata

Teatro dell'Opera di Roma

No other work reflects Puccini's search for new forms of musical theatre like his three-act trilogy IL TRITTICO, which premiered in 1918. In three pieces with different colours and temperatures, he once again brought to the stage what Italian opera could be in those years. In a condensed version, the second and third parts of the triptych now return to the stage of the Deutsche Oper in Karabulut's colourful production: SUOR ANGELICA, a piece with an all-female cast, is unique in opera history and revolves around questions of life and death and the possibilities in between. In her feminist interpretation, Karabulut explores the possibilities of (female) self-determination within a closed system. GIANNI SCHICCHI, on the other hand, follows the tradition of commedia dell'arte, placing humans at the centre as players and greedy deceivers. With her keen sense of timing and a captivating ensemble, Karabulut reveals the bizarre depths of a hypocritical family gathering once again around the deathbed of their patriarch.

Suor Angelica / Gianni Schicchi

Deutsche Oper Berlin

Following on from Puccini’s LA RONDINE and Johann Strauss’s DIE FLEDERMAUS, Rolando Villazón returns to the Deutsche Oper Berlin to tackle one of the great comedies of the bel canto genre and demonstrate that he can do humour. L’ITALIANA IN ALGERI remains one of the most popular works by Gioacchino Rossini, who is said to have dashed the piece off in less than a month and was a tender 21 years of age when the opera premiered at Venice’s Teatro San Benedetto in 1813. It’s a testament to Rossini’s boldness that he chose material that had been set to music only a few years before by his more experienced colleague Luigi Mosca. His audacity paid off, with the subsequent triumph bringing him immediate fame across Italy and widespread popularity soon afterwards throughout Europe.

L’Italiana in Algeri

It’s a rambunctious tale: an old curmudgeon is set on marrying his own ward of court with a view to snapping up her considerable inheritance. He leaves no stone unturned in his efforts to keep the fair Rosina cloistered from the outside world and thus from any potential young suitors. A pity, then, that Count Almaviva has fallen head over heels for her. Assisted by Figaro, an enterprising barber, he plans to outwit the old man, win over Rosina – and ensure that it’s love that attracts her to him rather than his rank and wealth. Not an easy job for Figaro, seeing as the opposite camp is scheming with equal tenacity … Love wins out in the end, and it turns out that all precautions were useless!

The Barber of Seville

La Fille du régiment, or the “regiment’s daughter”, is what they call the young Marie, who was found when just a child on the battlefield by soldiers. The troops commit to raising the evidently abandoned girl themselves. A young man of course must soon enter the scene and stir a special interest in her, and the secret of her origins will soon also be revealed. In the best tradition of French opéra comique, with his team of librettists, Gaetano Donizetti created a piece that in a truly original way combines Alpine idyll, patriotic enthusiasm and romantic love with comic situations and heightened conflicts. While Donizetti’s piece was at times extremely popular, the “regiment’s daughter” faded from favour somewhat in the 20th century. It can now be rediscovered, from the famous overture right through to the both amusing and cryptic music, in its first new production at the Bayerische Staatsoper in almost ninety years.

La Fille du régiment

La Fille du régiment, or the “regiment’s daughter”, is what they call the young Marie, who was found when just a child on the battlefield by soldiers. The troops commit to raising the evidently abandoned girl themselves. A young man of course must soon enter the scene and stir a special interest in her, and the secret of her origins will soon also be revealed. In the best tradition of French opéra comique, with his team of librettists, Gaetano Donizetti created a piece that in a truly original way combines Alpine idyll, patriotic enthusiasm and romantic love with comic situations and heightened conflicts. While Donizetti’s piece was at times extremely popular, the “regiment’s daughter” faded from favour somewhat in the 20th century. It can now be rediscovered, from the famous overture right through to the both amusing and cryptic music, in its first new production at the Bayerische Staatsoper in almost ninety years

He is supported by Don Basilio, who spins intrigues. Help comes from Figaro, the shrewd barber, who uses cunning and disguises to gain Almaviva access to Rosina. Despite all the obstacles and comic entanglements, the lovers manage to outwit Bartolo in the end and find each other.

Il Barbiere di Siviglia

Vienna State Opera

In Tyrol, she falls in love with the young Tonio, who joins the regiment out of love for her. However, their happiness together is disrupted when a supposed aunt takes Marie to her castle to raise her in a manner befitting her station and marry her off to a suitable husband. Marie feels uncomfortable in this strange world and longs for her simple life. In the end, love prevails: Marie returns to her regiment and to Tonio.

Immerse yourself in the rococo grandeur of 19th-century Rome in this fizzy comedy of errors, returning to the Lyric Opera of Chicago stage for the first time in more than a decade with a vivid, period production directed by Mariame Clément.

Donizetti’s lively score animates the story of the aging bachelor Don Pasquale, whose disowned nephew enlists his wry fiancée and the Don’s long-suffering doctor to orchestrate a complex series of dupes and double-crosses in a bid to reclaim his uncle’s inheritance — all in the name of true love.

EPSG:4326

Don Pasquale

Lyric Opera House

Amidst the everyday dreariness of a small village, Nemorino tries to win the heart of the wealthy landowner Adina. He pins his hopes on a supposed "love potion" which he acquires from the shady Dr. Dulcamara. This potion is said to take effect after 24 hours. With Gaetano Donizetti's "melodramma giocoso," composed during the early industrial era, director Julia Lwowski makes her debut at the Zurich Opera House. The stage design is by artist Mika Rottenberg, whose playful fantasy worlds question the absurdity of modern production.

Baritone

Misha Kiria

Events

Upcoming events

Oct 9, 2026 - Apr 9, 2027

Il Barbiere di Siviglia · Wiener Staatsoper

1 - 13 Nov, 2026

La Fille du régiment · Wiener Staatsoper

12 - 27 Nov, 2026

Don Pasquale · Lyric Opera of Chicago

Apr 25 - May 21, 2027

L'elisir d'amore · Opernhaus Zürich

Past events

9 - 11 Jul, 2026

La Cenerentola · Bayerische Staatsoper

21 - 30 Jun, 2026

La traviata · Teatro dell'Opera di Roma

Future and recently performed repertoire

Giorgio Germont in La traviata by Verdi

Teatro dell'Opera di Roma

Sulpice, Sergeant in La fille du régiment ((The Daughter of the Regiment)) by Donizetti

Wiener Staatsoper

Gianni Schicchi in Gianni Schicchi by Puccini

Deutsche Oper Berlin

Taddeo in L'italiana in Algeri by Rossini

Deutsche Oper Berlin

Dulcamara in L'elisir d'amore by Donizetti

Opernhaus Zürich

Don Pasquale in Don Pasquale by Donizetti

Lyric Opera of Chicago

Don Magnifico in La Cenerentola by Rossini

Bayerische Staatsoper

Bartolo in The Barber of Seville by Rossini

Deutsche Oper Berlin

Bartolo in Il barbiere di Siviglia by Rossini

Wiener Staatsoper

Sulpice in La fille du régiment by Donizetti

Bayerische Staatsoper

About

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