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

A scandalous novel by Abbé Prévost from 18th century Paris tells of the "amour fou" between the young noble Chevalier Des Grieux and the bourgeois girl Manon Lescaut. Both violate morality and law in the name of love and become the most famous couple of their era. Manon is torn between a passionate love and her desire for a life of wealth and security. On the way to the convent, she is matched with a wealthy man by her brother but elopes with her lover. In the house of the wealthy Geronte, to which she returns, she is regarded merely as an attraction, yet choosing the loving Des Grieux and leaving everything behind proves difficult for her. During an escape attempt, she is arrested as a thief and sentenced to exile in the American colonies. Des Grieux, who attempts in vain to save her, follows her into exile, where their shared path ultimately ends in the desert. A tragic love story where love finds no place to unfold. The year 1893 marks a turning point for Italian opera: the 80-year-old Giuseppe Verdi retires from the stage with his last opera FALSTAFF. At the same time, there is no longer any doubt as to who will be his successor: with MANON LESCAUT, Giacomo Puccini experiences his first global success and creates a new Italian opera that reflects the spirit of the age: the emotions are intense and torn, the forms are free, the acts follow one another episodically and obey only the laws of passion. Puccini pays homage to the 18th century in the score, yet the fascination that Richard Wagner's music had on him is particularly felt with particular compulsion in this opera. Richness of colour, dramatic expressiveness, and emotive cantilenas make MANON LESCAUT a very special Italian opera work, with the most demanding tenor role Puccini ever wrote. The new General Music Director Andrés Orozco-Estrada opens his first season at the podium of the Gürzenich Orchestra with this premiere. Carlos Wagner, a director of international standing, makes his debut in Cologne with MANON LESCAUT.

Manon Lescaut

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

The Principality of Silistria is highly coveted. Two European countries are vying for a trade agreement: Hungary and Turkey. But Silistria only wants to choose one partner. While the Hungarian ambassador Count Géza von Tököli is already courting the favour of the Silistrian Princess Petra, everyone is eagerly awaiting the arrival of the Turkish ambassador. The latter’s appearance ultimately exceeds all expectations because, as it turns out, Turkey’s diplomat is a woman: Dschilli Bey! Gender clichés and cultural prejudices are now turned upside down and thoroughly shaken up. A competitive struggle full of intrigue, mistaken identities and surprising twists and turns ensues. Who comes out on top? See for yourself!

EPSG:4326

Eine Frau von Format

Staatenhaus Köln

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.

Don Giovanni

Four young, self-proclaimed artists – Rodolfo, Marcello, Schaunard and Colline - enjoy a carefree life in their Parisian garret. Although none of them are getting anywhere with their art, their creativity knows no bounds when it comes to mastering everyday life. Until one day when the neighbour Mimì knocks on their door and brings something completely new into their lives: love, honesty, responsibility. Rodolfo falls in love with Mimì; however, they do not stay together for long, as life moves on. Yet Mimì is terminally ill and cannot simply slip out of Rodolfo’s life again. “La Bohème” captures the entire fullness of life, comedy as well as tragedy, and is a declaration of love to the vibrant city of Paris.

La Bohème

"Yaparız biz herşeyi! Together and united we are strong!" the four animals sing and set off for Bremen to find happiness there. They are underdogs, outcasts and individualists: The donkey left his owner standing there when he called him stupid. the dog was disowned by his mistress because he always broke everything when playing. The cat refused to catch mice and was put out on the street. The rooster never managed to control his emotional outbursts and so he was thrown out as a troublemaker. But now they form an unbeatable team that wants to make music together and become famous – "Un pour tous, tous pour un! One for all, all for one!" the four musketeers set off on a journey to the place of their longing. Of course, numerous obstacles appear along the way, and there are also disputes among themselves. This extraordinary children's opera tells how the four idiosyncratic characters learn to overcome their conflicts and their fears.

The Bremen Town Musicians

On some full moon nights, a sinister storm rages through the Wolf's Gorge. For here, in the middle of the forest, free bullets are cast. With the help of these special bullets, every shot hits its mark, even if one cannot actually shoot. And Max urgently needs such free bullets so that he can pass the shooting test and finally be recognized as a member of the community. Otherwise, he will forever be branded as a failure and cannot marry his girlfriend Agathe. To get the free bullets, however, one must enter into a pact with the devil. From Carl Maria von Weber's romantic opera DER FREISCHÜTZ, a music theater is created for people with and without hearing impairment. For the first time, this co-production of the Cologne Opera and the COMEDIA Theater Taube Actors together with singers on stage sets out to explore the question of how music theater can be made more accessible for people with hearing disabilities. Means of accessibility thereby become an aesthetic component of the total work of art: German Sign Language is used equally alongside singing, spoken language and orchestral music. Music and sounds are visualized, and the sense of smell is also engaged. In this way, the story of the Freischütz is staged in such a form that the opera can be experienced with all senses and accessibility for all to this art form is created.

Free Bullets - The Marksman in five dimensions

Comedia Theater

The Chinese princess Turandot is obliged to marry only the man who solves her three riddles - a vow that has already cost countless princes their lives. Anyone who fails will be executed that very night. However, when Calaf, a Tartar Prince, sees Turandot, he cannot resist her enigmatic beauty. He solves the tasks, but the princess refuses the marriage. Calaf turns the game round: In order to avoid the marriage, Turandot must discover his name before dawn - a task that pushes everyone to their limits. The aria "Nessun dorma" marks the opera's dramatic climax. But after the naming of the name, "Love", Puccini's last work ends with the note "e poi "Tristano" - "and then Tristan". The opulent production by Lydia Steier ("Director of the Year" 2024) makes this work into an opera experience full of suspense, passion, and spectacle. Felix Bender assumes the Musical Direction once again.

Turandot

A glance at the skyline of the banking metropolis of Frankfurt am Main is a daily reminder of what most of the buildings built so close to the sky stand for: the most earthly thing man has ever created - money. In the May edition of the DaschSalon, soprano singer and presenter Annette Dasch and her guests want to get to the bottom of the everyday, the necessary and the profane. What do we really need? What remains when appearances and illusions fall away? Or: What would we take with us to the proverbial 'desert island'? And when this is explored, as always, in the form of music, song and poetry, a connection to the heavenly is created.

Wolfgang Stefan Schwaiger

Events

Upcoming events

1 - 28 Mar, 2026

Le Nozze di Figaro · Oper Köln

Apr 11 - May 28, 2026

Free Bullets - The Marksman in five dimensions · Oper Köln

May 21 - Jun 7, 2026

Turandot · Oper Köln

May 24, 2026

Annette's Dasch Salon · Alte Oper Frankfurt

Past events

1 - 28 Mar, 2026

Le Nozze di Figaro · Oper Köln

Dec 25, 2025 - Jan 11, 2026

La Cenerentola · Oper Köln

Future and recently performed repertoire

Ping in Turandot by Puccini

Oper Köln

Lescaut in Manon Lescaut by Puccini

Oper Köln

Papageno in The Magic Flute by Mozart

Oper Köln

Dandini in La Cenerentola by Rossini

Oper Köln

Count Almaviva in The Marriage of Figaro by Mozart

Oper Köln

About

Wolfgang Stefan Schwaiger hasn't added a bio