Beethoven: Missa solemnis

St. Michael's Church

»Der Rosenkavalier« is a “literature opera”, a disguise comedy, a trial about the transience of time, about holding on and letting go. A work of modern times, which looks back to a completely different time, a homage to an invented past: at times melancholic-lyrical, at times in a waltz beat, at times in a comic parlando

Der Rosenkavalier

Oper Leipzig

The opera has barely gotten underway before the first death occurs and Don Giovanni is in hot pursuit. But this does not stop the seducer of all seducers from going after the next woman: he adores them all! His wildly colourful exploits sweep him through all social strata, regardless to whether the lady of choice is already involved with someone else. Even if one may have slight doubts when it comes to the total number of his conquests – 1470! – Don Giovanni's appeal amongst women is undeniable. But what exactly is his secret?

Don Giovanni

When Salome had its world premiere in 1905, it marked the beginning of Richard Strauss’ operatic successes. Based on Oscar Wilde’s sensational tragedy, Strauss composed a musical drama rife with unleashed passion, whose worldwide success not even prudish censors could stop. Using one of the most scandalous stories in cultural history, whose origins lie in the New Testament, Strauss created a musical and stunning psychological profile of the unconscious, laying bare the conflict between sensuality and asceticism, between intoxication and loneliness, power and love.

Salome

“And the whole thing ended happily,” wrote Weber about his new opera Der Freischütz to his bride Caroline Brandt in March of 1817. But before everything can end happily ever after in this eerie story about fear of failure, societal constraints, and the individual’s right to happiness, the abyss opens up, and for a moment it seems as though evil will prevail. Max, the young forester, knows that his social standing and romantic prospects are dependent upon his performance at the traditional test of skill in marksmanship. But the only way he sees to pass the test involves a deal with the devil. Kaspar, disillusioned, has already submitted to the devil. And Agathe, betrothed to Max, must ask herself: “Do I leave myself to the hand of Fate?” Troubled, she tries to fight against what she perceives to be her destiny’s inevitability. Like all of the characters in the opera, she believes that her God has a true enemy. Weber created a unique musical context in which his characters’ thoughts and deeds all take place in a religious-demonic world, one that is entangled with the dark powers

Der Freischütz

Conceived as a preliminary evening to Wagner’s interpretation of world mythology, »Das Rheingold« introduces the central themes of this tetralogy: »Only he who renounces the power of love« can form the Rheingold into a ring that promises its bearer power over the world. It is the low E-flat in the strings that gives us the musical manifestation of the idea of a natural primitive state. But once Alberich steals the Rheingold, a chain of events are set in motion: Wotan’s megalomaniacal plan to build a structure representative of gods’ long-lost authority is followed by Alberich’s betrayal at Wotan and Loge’s hand and Alberich’s subsequent curse. The murder of Fasolt by his brother Fafner ensues. Not even Erda, with her wisdom and warning, can stop the chain of events from unfurling.

Das Rheingold

“Casta Diva” – “Chaste Goddess”. With this famous cavatina, the priestess Norma commands the population to remain peaceful in the fight against the Roman occupiers. However, Norma herself is conflicted, having broken her vows and secretly being a lover and mother. She leads a double life, as do her lover, the Roman general Pollione, and the novice Adalgisa. All these dangerous secrets escalate into a drama of life, death, and the sacrifice of love in the face of conflicts over occupation and Roman supremacy. It is said that all weapons are fair game in war – even those that strike at the heart and destroy all that we love

Norma

Welcome to the mysterious fairy-tale world of the »Magic Flute«! Even the names of the characters sound magical and remind us of our first visits to the opera: Tamino, Pamina, Papageno, Sarastro … Hardly any other work of opera literature includes so many contradictory elements, so harmoniously combined into a coherent entity by Mozart's music . Is his arguably most popular opera an adventure story about growing up? A parable of wisdom, philosophy and friendship? Is it simply about staying true to oneself, like the bird catcher Papageno? He accompanies Prince Tamino, who has fallen in love with a picture of the kidnapped Pamina and plans to free her. We are reminded that the world cannot always be divided into good and evil: the Queen of the Night and Sarastro illustrate this to us through their quarrel over Pamina. On our journey we are also accompanied by three ladies, three boys, a glockenspiel, and a flute that tames even the wildest animals.

The Magic Flute

The Flying Dutchman navigates the earth, accursed, tirelessly searching for salvation. But he can only find deliverance if he finds a woman who will promise to be faithful to him, even in death. Wagner's atmospheric thriller encompasses the search for home and the desire for another.

Yorck Felix Speer

Events

Past events

Jul 25, 2025

Beethoven: Missa solemnis · Schleswig-Holstein Music Festival

14 - 29 Jun, 2025

Der Rosenkavalier · Oper Leipzig

Future and recently performed repertoire

A Hermit in Der Freischütz by Weber

Oper Leipzig

2nd Soldier in Salome by Strauss

Oper Leipzig

Singer in Missa solemnis by Beethoven

Schleswig-Holstein Music Festival

Sarastro in The Magic Flute by Mozart

Oper Leipzig

Baron Ochs auf Lerchenau in Der Rosenkavalier by Strauss

Oper Leipzig

Fasolt in Das Rheingold by Wagner

Oper Leipzig

Commander in Don Giovanni by Mozart

Oper Leipzig

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