Singer

A great journey into the inner human being: This is Johann Sebastian Bach's St. Matthew Passion , perhaps the most significant religious musical work of the 18th century, which can still touch us today as it did 300 years ago: with its story of faith and doubt, of loyalty and betrayal, of hope and despair. In contrast to its dramatic sister, the St. John Passion , the focus of the St. Matthew Passion is on the inner journey that we all take when we relive and experience the suffering of Jesus Christ. And the St. Matthew Passion is not just a work for believers, for those connected to the Christian religion, but it also questions our values, our relationship to life and death, to this world and the next. The scope and instrumentation are larger, more powerful than in the St. John Passion : two choirs and two orchestras are contrasted, symbolizing the earthly and the divine spheres.

St. Matthew Passion

Beethoven Hall

Today marks a joyous day at the castle. Finally, the wedding of Figaro and Susanna is set to take place, both of whom are in the service of Count Almaviva and are being supported by him. Everything seems perfect - and is, of course, only half the truth. In fact, the Count is after Susanna and tries to play his employees off against each other wherever possible. At the same time, he believes he must keep an eye on his lonely wife, as well as his pubescent nephew Cherubino, who continuously puts him in compromising situations. The longer the crazy day lasts, the less the Count seems to be master in his own house. Only when everyone unites against him are the rules of the game changed. But until that moment arrives, until Figaro and Susanna are finally wed, until the Count and Countess are reconciled, until a genuine plea for forgiveness for wrongful actions is spoken, the most beautiful and profound human comedy in opera unfolds: Mozart’s LE NOZZE DI FIGARO. Here, reason, intrigue, and emotional desire are perfectly balanced when it comes to bringing order to the emotional chaos that has always connected people. For his first Mozart libretto, the librettist Lorenzo da Ponte took on a brand-new and quite delicate drama in 1786, Beaumarchais' French comedy "La folle journée ou Le mariage de Figaro," a critical reflection of the conditions in the Ancien Régime. Mozart embraced the revolutionary idea, after all, he had just settled in Vienna as a free artist, and had a clear vision of how he wanted to live as a citizen in a still feudal world. Far more important, however, are the love and respect that his music shows to every single character on stage, as Mozart ensures that each and every one - whether young or old, privileged or less privileged - receives their due. Mozart's masterful ensemble piece conducted by General Music Director Andrés Orozco-Estrada. Katharina Thoma, already known in Cologne for DIE FRAU OHNE SCHATTEN, directs this musical comedy that never goes out of style

Le Nozze di Figaro

Cologne Opera

"Take me to the ball!" pleads Cinderella Angelina. However, her wish meets with rejection by her stepfather Don Magnifico and the selfish stepsisters Instead, she is treated like a maid, while the spoiled amily dreams of wealth - although everything is on the brink of ruin. But behind this false world lies a more beautiful one: A prince awaits Angelina and true values ​​triumph over false appearances. In the end, justice prevails: Angelina forgives her family and becomes not only a princess but also as a wise-hearted regent. In LA CENERENTOLA, Gioacchino Rossini combines virtuosic bel canto with the dream of a fairer world. Cecilia Ligorio's enthusiastically received production from the year 2022 returns to the schedule, under the musical direction by Matteo Beltrami.

La Cenerentola

Envy and hatred reign in Saul's heart. For he perceives in David a rival for the throne: After David's victory over the giant Goliath, King Saul finds himself compelled to welcome David into his house and to honour him as a hero. When his son Jonathan and his daughter Michal side with David, and eventually even his daughter Merab acknowledges the universally celebrated hero, Saul finally decides to remove David from his path. However, David enjoys divine protection. Instead, it is Saul whose star threatens to set. With SAUL, George Frideric Handel turned to a biblical subject from the Old Testament. The subject matter was certainly controversial, as around twenty years before Handel’s arrival in London, Parliament, during the “Glorious Revolution” of 1689, had offered the British crown to William III of Orange and Mary II in order to put an end to the rule of the absolutist King James II. Georg Friedrich Handel had so far achieved one box office hit after another in London, primarily with his serious operas. However, the audience gradually seemed to be tiring of Italian opera. Thus, Händel set out in search of new paths in musical theatre. The genre of the oratorio, which he had become acquainted with during his time in Rome from 1706 to 1709, seemed suitable for this purpose. And indeed, the premiere of SAUL on 16 January 1739 at the Haymarket Theatre in London was a success, not least due to the gigantic choral numbers and the English national language in which it was sung. That SAUL is also dramatic, stage-effective musical theatre is demonstrated by the numerous musical effects with which Handel brings the story of the tormented King Saul to life. From triumphal choruses to whispers of witches to the funeral march that is still played today at state funerals worldwide. The acclaimed production from the Glyndebourne Festival, in Barrie Kosky’s opulent and profound direction, presents the Old Testament fable of envy and resentment set in London during the Georgian era, when indulgence and misery, popular entertainment and humiliation existed side by side. At the podium of the Gürzenich Orchestra stands Rubén Dubrovsky, who has already demonstrated his flair for Baroque music in Cologne with GIULIO CESARE IN EGITTO and ORLANDO.

Saul

From a deep E-flat major chord, time and space are lifted, and on the waves of the Rhine, a world unfolds with gods, dwarves, giants and creatures of nature. However, the paradisiacal primordial state does not last long: After the Nibelung Alberich is spurned by the Rhinemaidens, he decides to renounce love forever and seize the gold from the depths of the Rhine. From this, he now forges a ring that grants him world power. But the father of the gods, Wotan, also wants to possess the ring. With the help of the fire god Loge, he actually succeeds in stealing the ring from Alberich. However, Alberich curses the ring: Misfortune shall befall its owner - a prophecy that will soon be fulfilled for the first, but not the last time. Richard Wagner created with DER RING DES NIBELUNGEN a parable about the origin and end of the world and realised his radical idea of a total work of art, in which text, music and stage action form a symbiosis. Wagner's endless melody and his leitmotif technique, which he had already developed in DER FLIEGENDE HOLLÄNDER and LOHENGRIN, reach an as yet unprecedented complexity in THE RING. With the creation of the RING tetralogy, Wagner also solidified the plan for his own festival theatre as a venue. At the request of his patron King Ludwig II, the premiere of RHEINGOLD took place on 22 September 1869 at the National Theatre of Munich. The audience, which was largely composed of professionals and art connoisseurs who had travelled from afar, expressed enthusiastic applause. Wagner's vision of performing the entire DER RING DES NIBELUNGEN  in his own festival theatre finally became a reality in 1876 in Bayreuth. Director Paul-Georg Dittrich, who has already introduced himself to Cologne with his production of DER ZWERG, will stage a new RING. In RHEINGOLD, he embarks on a search for the childlike origin of the world. What happens when free, yet unencumbered imagination is instrumentalised in a power-obsessed society? The musical direction is under the internationally sought-after conductor Marc Albrecht, who returns to the podium of the Gürzenich Orchestra after DIE FRAU OHNE SCHATTEN.

The Rhinegold

Fleeing from a snake, Prince Tamino enters the realm of the Queen of the night. Three ladies rescue him and are fascinated by him. As the bird catcher Papageno claims to have defeated the serpent, they punish his boasting and put a lock on his mouth. Tamino receives a picture of Pamina, the abducted daughter of the Queen, immediately falls in love with her and vows to rescue her. With a magic flute and a set of bells, Tamino and Papageno set off and face all dangers.

The Magic Flute

He is probably the most famous playboy of all time: Don Giovanni. According to his servant Leporello, he has seduced 1,003 women in Spain alone. But who is Don Giovanni really? “Chi son io tu non saprai”, seems to be his answer to Donna Anna at the start of the opera, after he has tried to win her over by force. “You’ll never know who I am.” Indeed, his character defies any precise definition; he always remains changeable and unpredictable. Because Don Giovanni is a character without any consciousness. He is the principle that raises human questions about good and evil, desire and duty, transgression and punishment.

EPSG:4326

Don Giovanni

Staatenhaus Köln

Orlando is obsessively in love with Angelica and tries with all his might to win her over. This causes the wizard Zoroastro concern, as Orlando is neglecting his duty as a warrior. When Orlando finds out that Angelica is in love with the soldier Medoro instead of him, he goes mad with jealousy, hallucinates a descent into the underworld and resolves to destroy everything and everyone. Will Zoroastro achieve his goal and get Orlando back onto the “right path”?

Soprano

Giulia Montanari

Events

Past events

Apr 3, 2026

St. Matthew Passion · Beethoven Orchester Bonn

1 - 28 Mar, 2026

Le Nozze di Figaro · Oper Köln

Future and recently performed repertoire

Michael in Saul by Handel

Oper Köln

The Queen of the Night in The Magic Flute by Mozart

Oper Köln

Clorinda in La Cenerentola by Rossini

Oper Köln

Barbara in The Marriage of Figaro by Mozart

Oper Köln

Susanna in The Marriage of Figaro by Mozart

Oper Köln

Woglinde in Das Rheingold by Wagner

Oper Köln

Singer in St. Matthew Passion BWV 244 by Bach

Beethoven Orchester Bonn

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