Méphistophélès, less an intellectual "principle of negation" than a devilishly attractive magician, draws his attention to Marguerite - and Faust is delighted. A deal is quickly struck: the devil serves Faust on earth, and after Faust's death it is to be the other way around. Marguerite is also not unimpressed by what Méphistophélès has to offer: material luxury and sensual pleasure, often musically illustrated by Gounod with a waltz. But the relationship between Faust and Marguerite remains an episode, as Faust is drawn to new attractions, while Marguerite remains pregnant, only to see her unfaithful lover kill her brother.

Faust

Vienna State Opera

Jupiter, the supreme god and supreme "womanizer," has declared the beautiful Alcmene the target of his seductive powers and, for this purpose, assumes the form of her husband Amphitryon. At the same time, the messenger of the gods, Mercury, annoys Amphitryon's servant, Sosias, by transforming into him and challenging his existence. But others have the same idea. So, who is Sosias, the real, the true Sosias? Apparently, no one can claim that with any justification. His supposed wife, Cléanthis, like Alcmene, also loses herself in the interplay of different statements.

EPSG:4326

Amphitryon

Schauspielhaus Bad Godesberg

He haunts Tolstoy's text like a ghost: Napoleon Bonaparte, Emperor of France and bearer of a very special project. Like a collective obsession, visitors to Moscow's salons follow every piece of news about the Corsican's private and public life. Admiration and rejection, fascination and fear characterize the Russian upper class, which fears more than just Bonaparte's troops. Because like an invasion, the self-proclaimed world conqueror also brings the values ​​of the French Revolution with him: freedom, equality, fraternity and the abolition of a class-based society in favor of a rule of law. Even in the Frenchman's devastating defeat, the Russian victors pay him tribute, although nothing will change for a long time in the rigid salons of the late Tsarist Empire.

War and Peace

Staatstheater Darmstadt

When Richard Wagner developed his initial ideas for Die Meistersinger von Nürnberg in the mid-1840s, he had no intention of writing a monumental "festive opera". The work was intended to be a facile comedy, a jovial and humorous satyr play to place alongside his Tannhäuser, since – like Tannhäuser – reflections on art and artists are its focus. More than two decades later, he had a musical score that was one of the most extensive and multi-layered of his entire repertoire, and that aroused controversy.

The Mastersingers of Nuremberg

Bebelplatz

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.

Adriana Braga Peretzki

Events

Past events

6 - 15 Nov, 2025

Faust · Wiener Staatsoper

Apr 19 - May 17, 2025

Amphitryon · Theater Bonn

About

Adriana Braga Peretzki hasn't added a bio