Storm and thunder, unbridled passion, incest and divine wrath - all of this is already brewing in the first bars of the orchestral prelude to DIE WALKÜRE and gives a hint of what is to follow. In DIE WALKÜRE, the first day of the stage festival play DER RING DES NIBELUNGEN, Wagner focuses on the generation of Wotan's descendants: On the sibling pair Siegmund and Sieglinde, who, after many years of separation, meet fatefully and fall in love with each other. And on the Valkyries, Brünnhilde and her eight sisters, whose task it is to bring the heroes fallen in battle to Valhalla. When Wotan's wife Fricka learns of the incestuous relationship between Siegmund and Sieglinde, she demands that Wotan put an end to it. So Wotan orders his favourite daughter Brünnhilde to overthrow Siegmund in his battle against his rival Hunding. But Brünnhilde protects Siegmund against Wotan’s command. As punishment, Wotan puts Brünnhilde into a deep sleep and ignites a circle of fire around her, which only one without fear can pass through...

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Die Walküre

Cologne Opera

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

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

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

“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.

In 1847, Giuseppe Verdi was working on a piece unlike anything ever seen on the opera stage. To turn a dark, blood-soaked Shakespearean tragedy into an Italian opera was already a bold undertaking. But to go even further and create an opera that adhered closely to the character of the original rather than to established operatic forms seemed almost impossible. “I believe the time has come to abandon the usual forms and models,” Verdi wrote. Thus he ventured into the creation of a musical drama exploring psychological abysses amid a whirl of crime, guilt, and punishment, under the imposing English title of the original: Macbeth.

Macbeth

“Are you human, or are you a fairy tale?” The water nymph Rusalka is in love with a prince. Only if she is transformed into a human can she be united with him. But the witch Ježibaba binds this spell to conditions: Rusalka must remain silent, and if the prince no longer loves her, she must kill him. The two plan to marry, but the prince is already troubled by her eternal silence, and soon he succumbs to the seduction of another woman. Rejected, Rusalka returns to the lake. When the prince shows remorse, the curse demands its price: one final kiss brings him death.

Regina Richter

Events

Upcoming events

Oct 3 - Nov 15, 2026

Rigoletto · Oper Köln

Dec 13, 2026 - Mar 27, 2027

The Magic Flute · Oper Köln

May 2 - Jul 10, 2027

Macbeth · Oper Köln

May 16 - Jun 5, 2027

Rusalka · Oper Köln

Past events

Mar 29 - May 3, 2026

Die Walküre · Oper Köln

Oct 26 - Nov 16, 2025

The Rhinegold · Oper Köln

Future and recently performed repertoire

Lady's chambermaid in Macbeth by Verdi

Oper Köln

2nd Elf in Rusalka by Dvořák

Oper Köln

2. Dame in The Magic Flute by Mozart

Oper Köln

Giovanna in Rigoletto by Verdi

Oper Köln

Wellgunde in Das Rheingold by Wagner

Oper Köln

Waltraute in The Valkyrie by Wagner

Oper Köln

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