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.

EPSG:4326

Turandot

Cologne Opera

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

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

Professor Beelzebub Irrwitzer is a dreadful sorcerer and poisoner, who takes pleasure in causing a lot of destruction in nature. But his devilish client is not at all satisfied with him this year, far too few Evil deeds, finds Maledictus Made, the devilish messenger. Therefore, at midnight, Irrwitzer's time will run out, unless he quickly manages to secure a few more disasters in the world. Now only the satan-archaeo-lying-alcoholic Wish Punch can help him, which at the stroke of midnight turns all good wishes into their opposite. However, Irrwitzer only has half of the parcel containing the recipe; the other half is with his aunt, Tyrannja Vamperl, who happens to be visiting. She has exactly the same problem, and so both are now brewing the highly dangerous Wish Punch. Fortunately, Tomcat Maurizio and Crow Krista recognizes the danger and they jointly take up the fight against the two villains, even though they initially do not like each other at all. But time is running out and the task is difficult...

The Wishing Punch

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

Carmen is independent and won’t let anyone take her freedom. She makes her own decisions - nobody else! Carmen loves life. She lives entirely in the present, not in the past or the future. Carmen’s love has wings: when she loves someone, it is for precisely that moment and not for all eternity - her interest might turn to someone else the very next moment. Carmen quarrels and fights, she doesn’t shy away from the criminal milieu either, because property or standards of any kind don’t exist for her.

Carmen

Staatenhaus Köln

Die Rheinische In Cologne Choir Concert

Stadthalle Mülheim an der Ruhr

A musical veneration of Mother Earth and Mother Mary: Bob Ingalls' urgent symphonic plea for the protection of Mother Earth, "Mother Earth Cries Out!", culminates in Dvořák's powerful setting of the Stabat Mater as a prayer to the grieving Mother of God.

Gürzenich Choir Cologne

Museum Ludwig

The opera DER ROSENKAVALIER leads into the bedroom of a princess and straight into the intimate conversation with her youthful lover. Inspired by the ancient tragedy ELEKTRA, Richard Strauss and the poet Hugo von Hofmannsthal envisioned something entirely new: a comedy for music. Cheerful, light, and elegant, conciliatory yet profound in its emotions and thoughts – and, of course, Austrian in its burlesque wit while at the same time touched by melancholy reflection. Thus the authors created the famous figure of the Field Marshal's wife, Princess Werdenberg who bears the first name Marie-Thérèse for good reason and entrusted her with the leading role in the opera DER ROSENKAVALIER, premiered in 1911.

Der Rosenkavalier

As the court jester to the Duke of Mantua, Rigoletto is no less scrupulous than his absolutist master, who seduces women at will and has men killed on a whim. Rigoletto seeks to protect his daughter Gilda from this world, but the Duke has already set his sights on the innocent young woman. When Gilda gives herself to the seducer driven by love and idealism, Rigoletto's carefully constructed wall of protection collapses, and he himself is made a fool: his belief that he could strictly separate the corruption of court society from his private happiness proves to be a fatal illusion.

Rigoletto

What do we long for when we love? And can another person ever truly recognize our deepest desires – let alone fulfill them?

Hoffmann's Tales

“Such a little fat dachshund has never been seen here before,” Goethe’s mother wrote to her son in 1793 about a performance of DIE ZAUBERFLÖTE (The Magic Flute) – a remark that reflects how Mozart’s Singspiel quickly captivated a wide audience. At once entertaining and sophisticated, the story follows Prince Tamino and Papageno who face a series of trials to rescue the princess Pamina from the clutches of Sarastro. It journey full of dangers, at the end of which lies the hope for a self-determined future together.

It is fair day in Bohemia; the entire village is drinking and celebrating merrily – except Marie, who remains sad. Because of old family ties, her father insists that she marries a man she does not know. The matchmaker Kezal has arranged what appears to be a profitable deal for everyone involved, by which the wealthy Wenzel and Marie are to become a couple. But Marie has already sworn eternal fidelity to her beloved Hans and now steadfastly refuses to give in. Then, however, a new agreement is made: Kezal persuades Hans to give up Marie for 300 gulden. Everyone is shocked: Hans sells his bride! That everything ultimately turns out well, that love prevails and the dealmaker comes away empty-handed, is due not only to Marie’s strong will and a clever trick by Hans, but also to a traveling circus troupe and a bear costume.

The Bartered Bride

A young hero enters a world full of dangers – without fear, without knowledge of his origins, armed only with a shattered sword as his father’s final legacy. Siegfried grows up far from humankind, raised by the cunning dwarf Mime. When he succeeds in reforging the broken sword Nothung, he becomes a hero of destiny: he slays the dragon Fafner, gains possession of the mighty ring, and drinks the monster’s blood. This grants him an extraordinary gift – he can now understand the language of birds. From them he learns of Brünnhilde, who has been cast into a deep sleep by Wotan. To reach her, Siegfried must pass a ring of blazing fire – a trial that only the truly fearless can endure.

Siegfried

In a dispute with Fortuna and Virtù over supremacy over humankind, Amor seeks to prove that love alone stands above all else. Thus Poppea rises to become Empress of Rome through Nero's love for her – and yet: “love” is the wrong word. What is at play is an erotic driving force, through which manipulation is carried out ruthlessly and power is exercised. Whoever loves has already lost, and anyone who stands in the way of Poppea's interests is mercilessly cast aside – Nero's wife Ottavia as well as the teacher and philosopher Seneca. With sensuous delight and without remorse, accompanied by some of the most beautiful and passionate music early Baroque opera has to offer, Poppea and Nero revel in their victory.

Lucas Singer

Events

Upcoming events

Sep 27 - Dec 20, 2026

Der Rosenkavalier · Oper Köln

Oct 3 - Nov 15, 2026

Rigoletto · Oper Köln

Nov 28, 2026 - Feb 27, 2027

Hoffmann's Tales · Oper Köln

Dec 13, 2026 - Mar 27, 2027

The Magic Flute · Oper Köln

Feb 28 - Apr 25, 2027

The Bartered Bride · Oper Köln

Past events

May 21 - Jun 7, 2026

Turandot · Oper Köln

1 - 28 Mar, 2026

Le Nozze di Figaro · Oper Köln

Future and recently performed repertoire

Timur in Turandot by Puccini

Oper Köln

Micha in The Bartered Bride by Smetana

Oper Köln

Seneca in L'incoronazione di Poppea by Monteverdi

Oper Köln

Sarastro in The Magic Flute by Mozart

Oper Köln

Singer in Stabat Mater by Dvořák

Kölner Philharmonie

Sparafucile in Rigoletto by Verdi

Oper Köln

A police commissioner / notary public in Der Rosenkavalier by Strauss

Oper Köln

Bartolo in The Marriage of Figaro by Mozart

Oper Köln

Fafner in Das Rheingold by Wagner

Oper Köln

Fafner in Siegfried by Wagner

Oper Köln

Singer in Mother Earth cries out! by Ingalls

Kölner Philharmonie

Maledictus Made in The Wishing Punch by Naske

Oper Köln

Crepes in Hoffmann's Tales by Offenbach

Oper Köln

About

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