Singer

Continuing his original path in the world of opera, with Venere e Adone (2021) Salvatore Sciarrino revisits a Greek myth – as he did with his first opera, Amore e Psiche (1973) –, although his reinterpretation takes on a different perspective to the classic narrative. This new work, which, not uncoincidentally bears the subtitle Naufragio di un mito [Shipwreck of a myth] – does not focus so much on the love between the  capricious goddess and the supreme shepherd-symbol of beauty, but on the Monster (the traditional boar) who, in Sciarrino’s version, causes the death of Adonis after literally kissing and caressing him to death, after being pierced by Cupid’s javelin – shot by Adonis himself – which aroused in the ‘beast’ an irrepressible impulse of love towards those who have struck him. This is how the jealous Mars carries out his revenge since he is also in love with Venus: by providing Adonis with the fatal arrow through his son Cupid. With one final twist, the monstrous creature and the young hero mutually transform into each other. Who triumphs at this point? Love or death? This is the dilemma facing the author, and in this opera he demonstrates that he has honed his minimalist language, aimed at investigating the border between sound and silence or rather, how to educate to a ‘zero degree’ of listening, through a score that is characterised by the sophisticated use of the voice with plenty of sighs, whispers, and glissando in the context of diffused syllabic song.

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Venere e Adone

Teatro La Fenice

The war is over, and tragedy takes its course: the mother and her lover murder the father upon his return. The daughter hides her brother, keeping him safe. – Every day, Elektra thinks of her murdered father, plotting blood-stained celebrations of victory and waiting for the moment when her brother, reared as an avenger, returns...

Elektra

Hamburg State Opera

The return of two grand masters: Gustav Mahler – star conductor, visionary composer, and the most famous General Music Director in the history of the State Opera. His music unfolds a panorama of human experience – constantly fluctuating between joie de vivre and the dance of death. Director Christoph Marthaler, known for his idiosyncratic and playful scenic collages, approaches Mahler's oeuvre with an intense chamber piece.

The Troublemakers

Staatsoper Hamburg

Violetta is the most sought-after courtesan of the Parisian demimonde. However, her encounter with Alfredo makes her pleasure-seeking life seem questionable: they fall in love and try to build a life for themselves, far from the fast pleasures of the city...

La Traviata

“Don‘t you know the horrible dark place, don’t you know the evil one lives there?” Hastily, their parents set out for the woods to save Hansel and Gretel from the witch Rosina Leckermaul. As they feared, the children have got lost in the woods and found the gingerbread house. They cannot resist the sweet temptation – and fall straight into the trap of the witch, who likes children so much she could eat them up… literally.
As in most tales of the Brothers Grimm, in Engelbert Humperdinck’s setting of the fairytale all ends well: until that point, however, Humperdinck’s romantic music accompanies the children deep into the dark forest of legend. Here it invokes magical beings, calls on 14 angels to protect the siblings and allows the witch to ride her broomstick through the air.

Hansel and Gretel

The Peri - an angelic mythical creature. Fallen from paradise and thrown into the world, she is denied a return to heaven. It takes three attempts before the gates open for her again: It takes more than the drop of blood of a young man, martyred in war, and the last sigh of a girl who died because she did not want to leave her lover, who was sick with the plague, alone. Only the last gift, the tear of an old man who bitterly regrets his own life's sins at the sight of a child, will enable Peri to enter the kingdom of heaven. Robert Schumann's secular oratorio Paradise and the Peri is based on the oriental epic poem by the Irish poet Thomas Moore. In Hamburg, the Persian myth narrative becomes a panopticon of the very recent past.

Paradise and the Peri

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

What happens when, in times of war and destruction, even your own family becomes a battlefield and mistrust, desire and betrayal break out? The cruel, ingenious and at the same time megalomaniac King of Pontus, Mitridate, fights a hopeless war against the Romans, while his two sons are under pressure from their father and his fiancée Aspasia decides against her duty and in favor of her feelings and turns away from him. With Mitridate, the 14-year-old Mozart composed his first full-length opera seria according to all the rules of the time and at the same time a work in which his humanistic flair already shines through. In the arias, he gives the ensemble of singers ample opportunity to explore the depths of the human soul and display their vocal virtuosity. Preserving the essence of this historical operatic genre, but at the same time reinterpreting its form, the aim is to create something in which the orchestra is integrated both visually and in terms of content. In this way, the fate of the characters can be experienced directly through visible music-making.

Mitridate, re di Ponto

The works of the 3rd Chamber Concerto are all about love and solidarity in word and sound: When Johannes Brahms set about composing the “Two Songs”, it was his close friendship with his long-time companion, the violinist Joseph Joachim. Brahms wanted to create a musical monument to his love and composed the “Spiritual Lullaby” based on a text by Emanuel Geibel for his wedding, but withdrew the composition and revised it. The composer then published both songs together with “Quenched Longing” based on a text by Friedrich Rückert to mark another happy event: the baptism of his godchild, Joseph Joachim’s son. In both compositions, one can hear the unbridled joy of life, born of love. Leoš Janáček's (late) love for Kamilla Stösslová, who was almost 40 years younger than him, was, however, under a completely different, much worse star. In his second string quartet, with the programmatic nickname "Intimate Letters", his feelings for the young woman are omnipresent. Just a year before his death, Janáček left behind the frivolous testimony of a great love: eruptive, provocative and passionate.

3rd Chamber Concert

Elbphilharmonie Hamburg

A coming-of-age story, recurring conflicts with parents, and first love, Manon is a young girl full of hopes, dreams, and an irrepressible desire for life. Manon is to enter a convent and sees her desire for a free, self-determined life fading. However, she falls head over heels in love and flees to Paris, the city of love and opportunity.

Manon

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)

Opera buffa in four acts by Wolfgang Amadeus Mozart (1756-1791)
Libretto by Lorenzo Da Ponte

Le nozze di Figaro

Opernhaus Zürich

Power and domination, love, betrayal - and forgiveness? The themes of this opera are universal and more topical than ever, even if the work is set in ancient Rome and was written in 1791, at the end of the absolutist era. Will Emperor Tito, betrayed by his nearest and dearest, nevertheless show clemency? And if so, what does that mean for him? Director Jetske Mijnssen takes a psychological look at the characters and explores this question from today's perspective. Carried by Mozart's music, who once again demonstrates his complete mastery in this, his last opera.

La clemenza di Tito

Carmen charms everyone with her dancing and singing - only one of them turns her down: Don José. He, of all people, is supposed to arrest her after an argument in the factory. But José is also caught - he can't help it, lets her flee and is demoted and dismissed for it. Finally, the much-awaited appearance of the Toréador: he sings his furious march-like melody and flirts with Carmen. But she rejects him - she is waiting for Don José ... An opera full of musical highlights and dramatic love stories.

Mezzo-soprano

Kady Evanyshyn

Events

Past events

Jun 26 - Jul 1, 2026

Venere e Adone · Teatro La Fenice

Apr 14 - May 8, 2026

Elektra · Staatsoper Hamburg

Future and recently performed repertoire

In the year in La clemenza di Tito by Mozart

Staatsoper Hamburg

And Page in Falstaff by Verdi

Staatsoper Hamburg

Singer in Two Songs for Voice, Viola and Piano by Brahms

Philharmonisches Staatsorchester Hamburg

Ismene in Mitridate, re di Ponto by Mozart

Staatsoper Hamburg

Javotte in Manon by Massenet

Staatsoper Hamburg

Mercedes in Carmen by Bizet

Staatsoper Hamburg

Flora Bervoix in La traviata by Verdi

Staatsoper Hamburg

Second Lady in Die Zauberflöte by Mozart

Staatsoper Hamburg

Hänsel in Hansel and Gretel by Humperdinck

Staatsoper Hamburg

Dritte Magd in Elektra by Strauss

Staatsoper Hamburg

Singer in Paradise and the Peri by Schumann

Staatsoper Hamburg

Singer in Die Unruhenden by Marthaler

Staatsoper Hamburg

Amore in Venere e Adone by Sciarrino

Teatro La Fenice

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