Singer

“Al’alba vincerò - at sunrise I will win“, the unknown prince bawls out to the city, making him one of the few heroes of Italian opera whose arioso sleeplessness is due to confidence rather than despair. The others have to despair instead. Primarily the inhabitants of the city, in which – “nessun dorma“ – no one is allowed to sleep because everyone has to search for the name of the unknown man on the highest orders and under threat of the death penalty. That Turandot should actually end well by Puccini’s standards can be felt – like so much else – in the central tenor aria of the work. Puccini knew better than anyone how to force an emotional involvement on the audience through the merciless immediacy of his musical language. The piece itself ends happily, albeit without Puccini, who had to lay down his arms in his battle against laryngeal cancer before the finale was finished. And so Turandot joins the ranks of the great opera fragments of the 20th century. But not only is the piece more or less a chimera, the title character herself also seems to be primarily a projection: “Turandot does not exist! Only nothingness exists“, Ping, Pang and Pong warn the unknown prince to prevent him from attempting the three riddles that need to be solved in order to win the emperor’s daughter Turandot. Anna Sophie Mahler, whose Stuttgart production of Saint François d’Assise 2023 was named the “most unusual opera experience of the year“ by the journal Opernwelt, will set out 100 years after the premiere of Puccini’s enigmatic last opera in search of the “fluid of love“ with which the composer wanted to pacify nerves stretched to the limit in the opera’s finale. Because, this much is certain: this fluidum would also be useful today.

Turandot

Stuttgart Opera

“No human dies for himself alone. One dies for others. Maybe some die instead of others. Who knows?“ (Sœur Constance in Dialogues des Carmélites). Few operas focus on the confrontation with one’s own mortality as much as Francis Poulenc’s opera about an order of Carmelite nuns in the turmoil of the French Revolution, which premiered in 1957. The story revolves around the young Blanche, who – plagued by severe anxiety since birth – finds shelter in a convent. But the time of security ends abruptly when the Revolutionary Committee breaks up the convent and forbids the community from practicing its rites. The sisters swear themselves to martyrdom, but Blanche’s fear of death drives her to flee. Eventually she manages to overcome herself: As she follows her sisters to the scaffold, her fear is extinguished in the face of death. In her production of this hybrid of thriller, discourse opera and holy mass, director Ewelina Marciniak, known for her feminist readings, focuses on the dynamics of a community of women struggling for communication and humanity in the midst of terror. And even if the supernatural “Salve Regina“ of the Carmelite nuns on the scaffold leaves no doubt that this opera is a fervent profession of faith by the Catholic Poulenc, the nuns’ willingness to make sacrifices raises questions: where are the boundaries between solidarity, faith and fundamentalism? How lonely is it to die in our secularized contemporary world? Under the musical direction of Cornelius Meister, Poulenc’s powerful music becomes a unique event.

Dialogues des Carmélites

Your own daughter’s hand as a prize in a singing competition – imagine that! There could hardly be a stronger sign of the belief in the systemic relevance of art. And indeed, goldsmith Veit Pogner, who offers his daughter Eva as a prize, is just one of many masters from Nuremberg for whom their art is more than just a nice-sounding sideline: it is no less than a community-building and society-improving force. In the Meistersinger, we encounter a group of utopians who are not interested in their origins or money, but in innovation and the future. Eva’s own attitude to the whole thing is, as so often, of secondary importance. She already knows who she would like to be sung by and who she would rather not. Wagner initially conceived Die Meistersinger as a comic opera, and so everything ends on a superficially happy note: at the end, Eva’s crush Stolzing wins the competition and the bride – an impoverished squire, of all people. The future comes from the past, not only in terms of the son-in-law’s origins, but also with regard to the end of the utopia: the whole thing culminates in the Meistersinger Hans Sachs, who mentored the Junker Stolzing to victory, being crowned King of Art: “Heil Sachs!” and glory to the holy German art. In Wagner’s works, the monstrous often peeps through the tiniest of cracks. With the Meistersinger, Elisabeth Stöppler and Cornelius Meister also tell a piece of German history and mentality between awakening and restoration and, in this German Midsummer Night's Dream (Elisabeth Stöppler), focus on the relationship between the generations and the question of why what was is perhaps also what will be.

The Mastersingers of Nuremberg

The survival of the Holy Grail’s community is threatened by King Amfortas‘ wound which he received by the magician Klingsor. The only hope that the men have left now is the arrival of a so-called »innocent fool«, who has to become »knowledgeable by empathy«. Parsifal is the chosen one, but is unaware of his appointment as the redeemer of their plight. The seeress Kundry takes it upon her to show him his destiny.

EPSG:4326

Parsifal

The Staatstheater Stuttgart

Fyodor Dostoyevsky was certain that the secret to winning was surprisingly simple: “to control oneself every minute, regardless of the ups and downs of the game, and not to fall into passion.” Despite this knowledge, Dostoyevsky gambled away all his money and that of his lover at the roulette tables of German health resorts - gambling was forbidden elsewhere - which brought them both to the brink of destitution. Nevertheless, he capitalized on his experiences of loss: in 1866, he freed himself from an extortionate publishing contract with the novel The Gambler, which he wrote under great pressure. And on top of that, he delivered a study of his own (gambling) obsessions.

Baritone

Shigeo Ishino

Events

Past events

Jun 7 - Jul 18, 2026

Turandot · Staatsoper Stuttgart

Mar 29 - Apr 18, 2026

Dialogues des Carmélites · Staatsoper Stuttgart

Future and recently performed repertoire

Ping in Turandot by Puccini

Staatsoper Stuttgart

The Marquis de la Force in Dialogues of the Carmelites by Poulenc

Staatsoper Stuttgart

Klingsor in Parsifal by Wagner

Staatsoper Stuttgart

Mr. Astley in The Gambler by Prokofiev

Staatsoper Stuttgart

Konrad Nachtigall in The Mastersingers of Nuremberg by Wagner

Staatsoper Stuttgart

About

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