Jacques Offenbach composed more than 100 operas and operettas, most of them with unique wit and biting satire, original and inspired. At the end of his illustrious career in Paris, which stretched over five decades, he turned to his most ambitious operatic work Les Contes d’Hoffmann (The Tales of Hoffmann), an opéra fantastique based on a play that premiered in 1881.

Les Contes d’Hoffmann

Bebelplatz

The setting is Carthage, in ancient times: the hero Aeneas flees from burning Troy and arrives in North Africa via the Mediterranean Sea with his fleet of ships, where he meets the beautiful queen Dido. They are lovestruck – and yet fail to bond because of fate’s intervention. Aeneas continues on his journey to form a new kingdom in Italy, while the abandoned Dido is left no alternative but to stay.

Dido & Aeneas

EPSG:4326

Elias

Opernhaus Zürich

Musikdrama in one act by Richard Strauss (1864-1949)
after Oscar Wilde’s play of the same name

Salome

Opera in three acts by Erich Wolfgang Korngold (1897–1957)
Libretto by Paul Schott (Julius and Erich Wolfgang Korngold) after the novel
«Bruges la morte» by Georges Rodenbach

Die tote Stadt

Dramma lirico in four acts by Giacomo Puccini (1858–1924)
Libretto by Domenico Oliva, Luigi Illica and others

Manon Lescaut

«You will die! A friend will kill you.» – The scene with the fortune teller Ulrica, who prophesies that Count Riccardo will soon meet his end, is just one of many effective scenes in Verdi’s opera Un ballo in maschera. Riccardo doesn’t believe Ulrica, and laughs – but a short while later he is murdered by his best friend Renato during a masked ball. Comedy and horror are also closely linked musically in this score from Verdi’s middle creative phase. The story of an idle, politically weak ruler who is killed at a masked ball is based on the historical case of Gustav III of Sweden. However, Verdi was less interested in historical details than in the effective dramaturgy offered by the triangular constellation between Riccardo, his best friend Renato and his wife Amelia. The emotional drama that takes place in the middle act between Riccardo and his friend's wife is one of the most sensual love scenes Verdi ever wrote – and leads to the fiercest jealousy from Renato, who then joins a gang of conspirators. Verdi wanted to stage his new opera – originally with King Gustav as the title figure – in Naples, but the subject matter was targeted by censors. Showing a regicide on stage was simply impossible in the politically turbulent Italy of the 19th century. In the end, the opera was staged in Rome in 1859, in a historically altered setting. General Music Director Gianandrea Noseda and stage director Adele Thomas devote themselves to Verdi’s score of contrasts, which oscillates between masquerade frivolity and deeply felt melodrama. Tenor Charles Castronovo, who has already sung this role at the New York Met, is Riccardo. Italian soprano Erika Grimaldi makes her debut as Amelia.

Un ballo in Maschera

It is one of the classics in the Staatsoper’s repertoire: August Everding’s production of Wolfgang Amadeus Mozart’s The Magic Flute. The production is unique for its reconstruction of Karl Friedrich Schinkel’s 1816 set design for what was then the Berlin Court Opera on Unter den Linden – including the legendary starry sky for the Queen of the Night, which has become an icon of scenography and continues to enchant audiences.

Die Zauberflöte (Everding)

Depending on the demand for their work, the penniless poet Rodolfo and his three witty artist friends live either in destitution or in the lap of luxury, squandering their money. When their neighbour Mimì appears in their garret one day, Rodolfo falls in love with the fragile young woman at first sight. But in the face of Mimì’s illness, the struggling artists are caught up in harsh reality.

La Bohème

Few operas have more to say about remaining true (to yourself) in matters of art and love than Ariadne auf Naxos: should you cling to the one you love unconditionally, or remain open to new loves?

Ariadne auf Naxos

Aida is a slave at the Egyptian court. She is the king’s daughter from the enemy country of Ethiopia but has fallen in love with the Egyptian military leader Radamès. Her father Amonasro uses her to learn about the military strategy of his adversaries. Meanwhile, Amneris, the Egyptian king’s daughter, uses everything in her power to fight for her love for Radamès and tries to kill her rival. Everyone is at the mercy of a ruthless cartel of priests and warriors.

Aida

The will to resist the Roman is growing among the Galls, and Norma should finally give the sign for an uprising against the oppressor in the name of the god of war. But she hesitates due to a conflict of conscience: despite her vow of chastity, Norma has two children, hidden from the public, fathered by the Roman Pollione. When she finds out that Pollione loves the novice Adalgisa and wants to run away with her, her situation seems hopeless. If she reveals her double life, she risks not only her own standing, but that of her children as well.

Norma

Hostility, hatred and religious wars, power, helplessness and desire: in the Hebrew struggle for freedom, Samson, as God’s chosen one, rebukes the hostile Philistines. Samson seems invincible until his love for the Philistine Dalila exposes him. She finds out the secret of his extraordinary strength. The loss of his identity is at stake, and a race against time begins.

Álvaro Diana Sanchez

Events

Upcoming events

Nov 16, 2025 - Mar 22, 2026

Les Contes d’Hoffmann · Staatsoper Berlin

Dec 13, 2025 - May 24, 2026

Die Zauberflöte (Everding) · Staatsoper Berlin

Dec 20, 2025 - Jan 10, 2026

La Bohème · Staatsoper Berlin

17 - 23 Apr, 2026

Ariadne auf Naxos · Staatsoper Berlin

Apr 25 - May 17, 2026

Aida · Staatsoper Berlin

Past events

Nov 16, 2025 - Mar 22, 2026

Les Contes d’Hoffmann · Staatsoper Berlin

Oct 18 - Nov 14, 2025

Dido & Aeneas · Staatsoper Berlin

Future and recently performed repertoire

1. Priester in Die Zauberflöte by Mozart

Staatsoper Berlin

First Philistine in Samson and Delilah by Saint-Saëns

Staatsoper Berlin

Flavio in Norma by Bellini

Staatsoper Berlin

Scaramuccio in Ariadne auf Naxos by Strauss

Staatsoper Berlin

Parpignol in La bohème by Puccini

Staatsoper Berlin

Second Witch, Spirit in Dido and Aeneas by Purcell

Staatsoper Berlin

Ein Bote in Aida by Verdi

Staatsoper Berlin

Nathanaël in Les Contes d’Hoffmann by Offenbach

Staatsoper Berlin

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