A sovereign may do as he wishes. His entire surroundings depend on him, no-one is entitled to contradict him, all must suffer his moods. Only one may hold a mirror to him, is even obliged to criticise the ruler – the jester. But what happens when this fool neglects his most important task and puts himself at the service of the moral excesses exemplified by the tyrant? In his play Le Roi s’amuse (The King Amuses Himself), the French dramatist Victor Hugo went through this starting position with an unscrupulous fun-lover as the king, and a fool whose spiritual deformation has manifested itself in a hunchback.

Rigoletto

Max-Joseph-Platz

Jerusalem and Babylon at the time of Neubchadnezzar around 578 B.C. were the setting of Verdi’s early work, Nabucco. But the Biblical epic about power, love and religion is certainly more than a mere historical drama that might have served as a Hollywood blockbuster, and which places the most stringent demands on the soloists, chorus and stage machinery. Human conflicts are expressed here in highly emotional music and leave an indelible mark, to the present day, on this first, genuinely major operatic success by composer Giuseppe Verdi. Nabucco, the work with the famous prisoners’ chorus “Va pensiero” (“Fly, thought, on golden wings!”), the best-known hymn to freedom ever composed, is a must – and not just for Verdi fans.

Nabucco

“The artist is a man, and he must write for men. … and you will see true hatred and its bitter fruit.” In the Pagliacci prologue, Tonio tells us what this opera is about – it seeks to put the reality of life on the stage. This applies for both works, which will now enjoy their first new staging at the Bayerische Staatsoper in 46 years (1978). Together Cavalleria rusticana by Pietro Mascagni and Pagliacci by Ruggero Leoncavallo simply exemplify verismo. The basic situation: A woman is unfaithful. Another reveals this to the husband, and he, spurred on by this woman, takes bloody revenge on the lover. Cavalleria rusticana is about Turiddu, who returns to find his old flame Lola again, but she is now married to the carter, Alfio. Turiddu then consoles himself by seducing Santuzza. But the old love is reignited, and Lola betrays her husband, and Turiddu his girlfriend. In Pagliacci, the plot revolves around Nedda and her husband Canio, the leader of a group of comedians. Nedda’s love for him has grown cold, so she turns to the farmer, Silvio.

Cavalleria Rusticana / Pagliacci

“The artist is a man, and he must write for men. … and you will see true hatred and its bitter fruit.” In the Pagliacci prologue, Tonio tells us what this opera is about – it seeks to put the reality of life on the stage. This applies for both works, which will now enjoy their first new staging at the Bayerische Staatsoper in 46 years (1978). Together Cavalleria rusticana by Pietro Mascagni and Pagliacci by Ruggero Leoncavallo simply exemplify verismo. The basic situation: A woman is unfaithful. Another reveals this to the husband, and he, spurred on by this woman, takes bloody revenge on the lover. Cavalleria rusticana is about Turiddu, who returns to find his old flame Lola again, but she is now married to the carter, Alfio. Turiddu then consoles himself by seducing Santuzza. But the old love is reignited, and Lola betrays her husband, and Turiddu his girlfriend. In Pagliacci, the plot revolves around Nedda and her husband Canio, the leader of a group of comedians. Nedda’s love for him has grown cold, so she turns to the farmer, Silvio. 

The will to resist the Roman occupiers is growing among the Galls, and Norma should finally give the sign for an uprising against the oppressor in the name of the god of war. But she hesitates due to a conflict of conscience: despite her vow of chastity, Norma has two children, hidden from the public, fathered by the Roman Pollione. When she finds out that Pollione loves the novice Adalgisa and wants to run away with her, her situation seems hopeless. If she reveals her double life, she risks not only her own standing, but that of her children as well.

Norma

Bebelplatz

With unbridled passion, devastating heartbreak and unspoken regret, Tatyana’s love is rejected by Onegin, who, a little too late, realizes his mistake. Don’t miss this unforgettable journey through longing, desire and the haunting question: What if?

EPSG:4326

Eugene Onegin

The Santa Fe Opera

Le nozze di Figaro

Teatro dell'Opera di Roma

Norma is a Gaulish druid priestess who is committed to the peace-bringing goddess of the moon and fertility.

Elmina Hasan

Events

Upcoming events

Mar 7 - Jul 31, 2026

Rigoletto · Bayerische Staatsoper

Jul 18 - Aug 19, 2026

Eugene Onegin · Santa Fe Opera

15 - 23 Sep, 2026

Le nozze di Figaro · Teatro dell'Opera di Roma

Feb 22 - Mar 3, 2027

Norma · Wiener Staatsoper

Past events

Mar 7 - Jul 31, 2026

Rigoletto · Bayerische Staatsoper

18 - 28 Jan, 2026

Nabucco · Bayerische Staatsoper

Future and recently performed repertoire

Lola in Cavalleria Rusticana by Mascagni

Bayerische Staatsoper

Adalgisa in Norma by Bellini

Wiener Staatsoper

Maddalena in Rigoletto by Verdi

Bayerische Staatsoper

Fenena in Nabucco by Verdi

Bayerische Staatsoper

Olga in Eugene Onegin by Tchaikovsky

Santa Fe Opera

Cherubino in Le nozze di Figaro by Mozart

Teatro dell'Opera di Roma

About

Elmina Hasan hasn't added a bio