Lighting Designer

«L'amour est un oiseau rebelle», sings Carmen in Georges Bizet’s opera of the same name. Mats Ek, the Swedish dance legend, made Carmen the heroine of a ballet at the Cullberg Ballet in 1992. He based it closely on the novella by Prosper Mérimée, which also forms the basis for the opera, in which Don José tells the story of Carmen from his death cell. Playing with classic gender roles, Mats Ek avoids common Carmen clichés and finds a deeply human interpretation. Another strong female figure is at the center of Dani Rowe’s choreography. After a career as a dancer with the Australian Ballet and the Nederlands Dans Theater, the Australian-born choreographer now heads the Oregon Ballet Theater. She is creating her first choreography for the Ballett Zürich, set to the music of Mussorgsky’s «Bilder einer Ausstellung», in the orchestral version by Maurice Ravel.

Rebel Birds

Zurich Opera House

Goldberg is a highly virtuosic and deeply poetic dance piece—inspired by a musical masterpiece: Johann Sebastian Bach's Goldberg Variations . To open his first season as director of the Hannover State Ballet, Goyo Montero's Goldberg, which premiered in Nuremberg in 2022 , not only brings an entire compendium of his dance art to the stage, but also a portrait of the fascinating personalities of his newly formed company, which, with this premiere, is presenting itself as an ensemble for the first time. We owe
the composition of the Goldberg Variations to the ailing Count Keyserlingk, who commissioned a cycle of variations from Bach as a remedy for his insomnia. What Bach then delivered, however, is anything but sleep music. Rather, the work, first published in 1741 simply as "Clavier-Übung," unfolds as an instrumental world theater. It is music that reflects the entirety of human life and, in Goldberg, becomes the starting point for dance variations on the theme of "dreams." Cheerful and profound, playful and powerful, formally rigorous and sensual, Goyo Montero uses the language of movement to penetrate the beauties and depths of the night. Carried by a composition by Canadian Owen Belton, who counterpoints and re-illuminates Bach's variations with his own soundscapes—live and electronic—Goyo Montero stages a play and counterplay of dreams and nightmares.

Goldberg

Staatstheater Hannover

Her father hopes that she will be cured by the famous physician Ibn-Hakia - only when she can see will Iolanta meet her fiancé Robert of Burgundy. But things turn out differently: Robert wants to break off the engagement because he loves another princess. His companion and friend Vaudemont, on the other hand, falls in love with Iolanta at first sight and she returns his love. Love becomes the key to treatment, the cure succeeds and Iolanta learns to see.

Iolanta

Vienna State Opera

Ian McEwan, born in 1948, is one of the most important voices in contemporary English literature. His successful 2001 novel Atonement is about a life spent atoning for an early debt: Through a deliberate false statement, Briony Tallis, a pubescent, overzealous writer in 1930s England, puts her older sister’s unfit lover in prison and destroys the lives and loves of two people

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Atonement

Opernhaus Zürich

Ballet by Kim Brandstrup after works by Hans Christian Andersen

Of Light, Wind and Waters

Age recommendation: 12 and up Gustave Flaubert’s novel Madame Bovary is a masterpiece of world literature that paved the way for modernism. When it was published in 1856, a scandal ensued. Flaubert was accused of «glorifying adultery and charged with violating public and religious morality and decency». The novel tells the story of a young country woman who wants much more than a suffocating provincial life at the side of her petit-bourgeois, unambitious husband. Emma Bovary rebels against her marriage, takes on lovers, loses herself in dreams of passion, luxury and debauchery – and it ends in disaster. She falls hopelessly into debt, ruins her family and finally takes a fatal dose of poison. ‹Bovarism›, a condition in which a person denies reality, is named after the protagonist of Flaubert’s famous novel: Emma Bovary escapes from her dull life in the provinces through excessive fantasies, which she cultivates by reading romantic novels and Parisian fashion magazines. Her extramarital affairs mirror this kitsch, fantasy world, as she lives beyond her means and loses sight of reality. Measured against its literary fame, Madame Bovary is rarely performed on stage, particularly as a ballet. Flaubert’s narrative style seems too cool and realistic for a stage adaptation. But precisely his detached, accurate language, combined with his total engagement with his subject matter, makes it so inspiring. The female figure as an outsider is at the centre of this new production, which does not tell Madame Bovary as a conventional story ballet but instead breaks up narrative structures and approaches the material through abstract choreography and intimate psychological observation. At the same time, it never loses sight of the tale. Christian Spuck’s dance piece Bovary is about the search for female self-determination, rapture and loneliness, substitutions for love, self-injury, hedonism and the fatal outcome when fantasy worlds and reality merge into one. The concept for this new production by the Staatsballett Berlin is to adapt the literary material using darkly poetic imagery and refined humour – to tell the story, not for the sake of telling it, but to enter the characters’ inner worlds and transform them into dance.

Bovary

Deutsche Oper Berlin

Opera buffa in four acts by Wolfgang Amadeus Mozart (1756-1791)
Libretto by Lorenzo Da Ponte

Le nozze di Figaro

Ballet in two acts by Patrice Bart after Jean Coralli and Jules Perrot
Libretto by Théophile Gautier and Jules-Henri Vernoy de Saint-Georges

Giselle

Be someone else for a night? It’s not just frustrated Rosalinde and her employee Adele, who would much rather have been an artist, who dream of it. Together with Gabriel von Eisenstein, who has just been sentenced to prison, and Dr. Falke, who is bent on revenge, they go to Prince Orlofsky's crazy ball. Here, of all places, all the masks drop. Austrian director Anna Bernreitner stages this most Viennese of all operettas in costumes by renowned fashion designer Arthur Arbesser. It’s an evening with champagne moods, missed opportunities, and the lightness inherent in darkness, musically directed by the Swiss conductor Lorenzo Viotti.

The Bat

Clara Schumann was very likely the most important pianist of her time. Her life – as a daughter, artist, wife, mother, carer, manager, and muse – was full of ups and downs, and she devoted it entirely to music. In a world dominated by men, she displayed a degree of independence and self-determination that was astonishing for a woman of her time.

Cathy Marston follows the path of this exceptional artist, and focuses on Clara and her divorced parents, her relationship with Robert Schumann, and her connection with Johannes Brahms in her ballet, which premiered in 2024. She tells of devotion and passion, inspiration and responsibility.

Clara

This four-part ballet evening brings together two legendary dance pieces and two world premieres.

The Ballett Zürich has a long-standing relationship with the American choreographer William Forsythe. His «New Suite» from 2012, set to music by Bach, Händel, and Berio, combines eight technically demanding duets from different creative periods, forming a showcase of his work «en miniature». Hans van Manen made dance history in 1979 with his video ballet «Live». Created in the pioneering days of video technology, this piece for two dancers, a pianist, and a cameraman explodes the boundaries of the stage space, revealing itself to be a masterful puzzle game about the mechanisms of perception.

Timeframed

For Figaro and Susanna, it was supposed to be the most beautiful day of their lives: their wedding day. But their employer, Count Almaviva, who is equally in love with Susanna, does everything he can to delay the wedding. Twenty-four turbulent hours begin, in which the power of Eros throws every character in the play into confusing emotional states. Director Jan Philipp Gloger sets Mozart’s masterpiece in the present day, highlighting the way a supposedly irresistible man gets ensnared in a complex code of conduct designed to prevent abuse of power and sexual assault.

The Marriage of Figaro

Giuseppe Verdi’s «Messa da Requiem» is one of the most popular pieces in the concert repertoire. In a sensational co-production by the Oper Zürich and Ballett Zürich, Christian Spuck brought the oratorio for four solo voices, choir, and orchestra to the stage in 2016, as a combination of dance, abstract scene, space, and light. In his internationally acclaimed production, Spuck focuses on the human creature in the face of death and embarks on a sensitive search for traces of the whence and whither of the human being, between the terrifying proximity of death, loneliness, community solidarity, and mourning.

Requiem Mass

Scylla lives withdrawn into herself, as if in emotional hibernation. Reason, peace, and harmony reign in her cosmos. When Glaucus enters her life, everything changes: She experiences love in all its colors and facets – and does not recognize herself. The opera describes all the lust, wildness, panic, and despair that the young woman experiences as she rediscovers the world for herself. In the end, she will be someone else. Jean-Marie Leclair's rarely performed only opera is a musical discovery. Director Claus Guth returns to Opernhaus Zürich with this new production.

Scylla and Glaucus

The term «butterfly effect» is emblematic of the realization that in nature everything is connected to everything else and that the smallest interventions in a natural balance can trigger major effects. It is no different in art. In this program, the Junior Ballett, which embodies the dance of the future, explores the «Butterfly Effect». In addition to ballet director Cathy Marston, two representatives of a new generation of choreographers, Lucas Valente and Ihsan Rustem, created pieces for the Junior Ballet.

The Butterfly Effect

In William Shakespeare’s drama «Romeo and Juliet», the power of love allows two young people to transcend ordinary human limitations. Thanks to Sergei Prokofiev’s music, the star-crossed lovers of Verona have conquered the ballet stage. He brilliantly captured the clashing of love and hate and the juxtaposition of tenderness and violence in his colorful, passionate score.

Romeo and Juliet

This is a gripping operatic thriller of emotions, with which the then 21-year-old Gioacchino Rossini catapulted himself to the forefront of Italian composers from Venice in 1813: Amenaide is to obey her father's will and marry a man she does not love. In doing so, she contributes to ending the power struggle between two rival families in her hometown. Amenaide, in the meantime suspected of being a traitor and threatened with death, loves Tancredi, who returns to his hometown incognito, learns of the forced betrothal and kills his rival. But the trusting relationship with Amenaide is gone, Tancredi is desperate and wants to find death. Although an early work, TANCREDI with its lively melodies and resounding finales testifies to Rossini's musical inventiveness. It is above all the solo scenes in which the work builds up to its highlights. With the catchy cabaletta of the eponymous hero "Di tanti palpiti", the work contains a veritable opera hit, which in Italy effectively has the status of a folk song. The male main character Tancredi is in this case cast with a mezzo-soprano, a "trouser role" characteristic of the early 19th century. Musically, however, TANCREDI has much more to offer than this one big hit. Rossini developed new ways for the romantic Italian opera with his so-called "Rossini Code" also in terms of form - often a tempo d’attacco, an adagio, a tempo di mezzo and a cabaletta follow one another. The successful production of the Bregenz Festival from the year 2024, directed by Jan Philipp Gloger, is now being presented in Cologne. Jan Philipp Gloger, most recently in Cologne for the direction of EIN MASKENBALL, focuses his production on the love between two women who have little chance of self-fulfilment in a clan and macho world. The musical direction is held by George Petrou.

Tancredi

Cologne Opera

Marcos Morau’s « Nachtträume» was the Ballett Zürich highlight of the year in 2022, lauded as a «dance panopticon and abysmal Gesamtkunstwerk of dance, text, music, and impressive images» (NZZ). In his ninety-minute piece, the Spanish choreographer undertakes a disturbing nightmare journey with Ballett Zürich into the realms of power, powerlessness, and mindless allegiance. He succeeds in creating a profound analysis of the present, in which power and vanity, envy and greed for profit, social Darwinism and economic primacy all too often have us in a stranglehold. 

Night dreams

After spending seven years in the dreamlike world of the Venusberg, Tannhäuser now returns to human society. He soon realizes that the Wartburg Castle, bereft of sensuality, is no place for him. After causing a scandal at the singing competition with his song to Venus, Tannhäuser is cast out, and told to travel to Rome, where is to ask the Pope himself for forgiveness for his sins. Richard Wagner’s opera shows the medieval Minnesänger’s inner conflict of as the irreconcilability of different principles. Icelandic director Thorleifur Örn Arnasson specializes in mythical material and grand stories. Tugan Sokhiev conducts for the first time at the Opernhaus Zürich. Tenor Eric Cutler makes his debut in the title role.

Lighting Designer

Martin Gebhardt

Events

Upcoming events

Oct 12 - Dec 9, 2025

Rebel Birds · Opernhaus Zürich

Dec 7, 2025 - Jan 10, 2026

The Bat · Opernhaus Zürich

Dec 13, 2025 - Apr 24, 2026

Clara · Opernhaus Zürich

Jan 17 - Feb 12, 2026

Timeframed · Opernhaus Zürich

Jan 24 - Feb 14, 2026

The Marriage of Figaro · Opernhaus Zürich

Past events

Oct 12 - Dec 9, 2025

Rebel Birds · Opernhaus Zürich

Sep 25 - Nov 15, 2025

Goldberg · Staatstheater Hannover

About

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