Singer

A coming of age story and a story of love: The Queen of the Night persuades Prince Tamino to rescue her daughter Pamina from captivity under the high priest Sarastro. Tamino, who instantly falls in love with Pamina, is ready to set off. Involuntarily, bird catcher Papageno is also sent along with Tamino – as companion to the prince. After various trials of initiation, courage and perseverance Tamino and Papageno not only find their station in life as adults, but also each the woman to their hearts’ content: Tamino gains the hand of Pamina and Papageno lives happily ever after with his Papagena. We show the legendary Magic Flute of the Komische Oper Berlin, which director Barrie Kosky staged with the theater video art collective "1927" in an astonishing video animation world for the whole family.

The Magic Flute

Stuttgart Opera

Who has not heard of the robber Hotzenplotz? He first steals grandmother's new coffee grinder which plays such beautiful music whilst grinding. Then Hotzenplotz lures Seppel and Kasperl into a trap, taking them both prisoners. What’s more, the villain then sells poor Kasperl to the great and evil magician Petrosilius Zwackelmann – or is it Seppel he is selling? It does not matter. In any case, it takes a fair amount of courage, magic and the combined help by the audience to rescue the two friends. Composer Sebastian Schwab has newly composed Otfried Preußler's enchanting story as a Singspiel for the ensemble of the Staatsoper Stuttgart in time for Preußler’s 100th birthday - with coffee grinder and, of course, 7 knives.

The Robber Hotzen­plotz

The survival of the Holy Grail’s community is threatened by King Amfortas‘ wound which he received by the magician Klingsor. The only hope that the men have left now is the arrival of a so-called »innocent fool«, who has to become »knowledgeable by empathy«. Parsifal is the chosen one, but is unaware of his appointment as the redeemer of their plight. The seeress Kundry takes it upon her to show him his destiny.

EPSG:4326

Parsifal

The Staatstheater Stuttgart

Who has not heard of the robber Hotzenplotz? He first steals grandmother's new coffee grinder which plays such beautiful music whilst grinding. Then Hotzenplotz lures Seppel and Kasperl into a trap taking them both prisoners. What’s more, the villain then sells poor Kasperl to the great and evil magician Petrosilius Zwackelmann – or is it Seppel he is selling? It does not matter. In any case, it takes a fair amount of courage, magic and the combined help by the audience to rescue the two friends. Composer Sebastian Schwab has newly composed Otfried Preußler's enchanting story as a Singspiel for the ensemble of the Staatsoper Stuttgart in time for Preußler’s 100th birthday - with coffee mill and, of course, 7 knives.

While La Bohème consists only of poetry and not of action, it is said that with Tosca it is the other way around: only action, no poetry. Even the librettist Giuseppe Giacosa considered Sardou's original completely unsuitable for an opera. “What made Puccini come to terms with such a real and dealing with a brutal subject whose actors are little more than puppets entangled in a highly intelligent, cleverly designed plot? ”asked the music critic Mosco Carner. Maybe just that? For over 20 years Willy Decker's classic production of Puccini's Sex and Crime masterpiece has been a repertory perennial.

Tosca

By the middle of the 19th Century, the figure of Salome, a woman who enforced her erotic desires by using lethal violence, had developed into both – incarnation of female ferocity and symbol for pure eroticism – in short to the most important Christian-mythological female figure within the world of music and literature. It resembles an ecstatic dance on the verge of a precipice which finally evolved into a symbol of decadence: Until today, the opera has not lost any of its equally fascinating and disturbing power.

Salome

Your own daughter’s hand as a prize in a singing competition – imagine that! There could hardly be a stronger sign of the belief in the systemic relevance of art. And indeed, goldsmith Veit Pogner, who offers his daughter Eva as a prize, is just one of many masters from Nuremberg for whom their art is more than just a nice-sounding sideline: it is no less than a community-building and society-improving force. In the Meistersinger, we encounter a group of utopians who are not interested in their origins or money, but in innovation and the future. Eva’s own attitude to the whole thing is, as so often, of secondary importance. She already knows who she would like to be sung by and who she would rather not. Wagner initially conceived Die Meistersinger as a comic opera, and so everything ends on a superficially happy note: at the end, Eva’s crush Stolzing wins the competition and the bride – an impoverished squire, of all people. The future comes from the past, not only in terms of the son-in-law’s origins, but also with regard to the end of the utopia: the whole thing culminates in the Meistersinger Hans Sachs, who mentored the Junker Stolzing to victory, being crowned King of Art: “Heil Sachs!” and glory to the holy German art. In Wagner’s works, the monstrous often peeps through the tiniest of cracks. With the Meistersinger, Elisabeth Stöppler and Cornelius Meister also tell a piece of German history and mentality between awakening and restoration and, in this German Midsummer Night's Dream (Elisabeth Stöppler), focus on the relationship between the generations and the question of why what was is perhaps also what will be.

The Mastersingers of Nuremberg

“Et si je t'aime, prends garde à toi – if I love you, take care,” sings Carmen in her world-famous Habanera. Love is a game to her, or at least a rebellious bird. Lively, perhaps capricious, but fun. Don José's love, on the other hand, is really dangerous – not a game, but deadly serious. If I love you, beware: not a flirtation, a threat. Sebastian Nübling's production shows Carmen as a gripping journey into the subconscious of a murderer, far removed from all Spanish clichés. With audience favorite Atalla Ayan as Don José and the Carmen debut of Ida Ränzlöv.

Carmen

“Al’alba vincerò - at sunrise I will win“, the unknown prince bawls out to the city, making him one of the few heroes of Italian opera whose arioso sleeplessness is due to confidence rather than despair. The others have to despair instead. Primarily the inhabitants of the city, in which – “nessun dorma“ – no one is allowed to sleep because everyone has to search for the name of the unknown man on the highest orders and under threat of the death penalty. That Turandot should actually end well by Puccini’s standards can be felt – like so much else – in the central tenor aria of the work. Puccini knew better than anyone how to force an emotional involvement on the audience through the merciless immediacy of his musical language. The piece itself ends happily, albeit without Puccini, who had to lay down his arms in his battle against laryngeal cancer before the finale was finished. And so Turandot joins the ranks of the great opera fragments of the 20th century. But not only is the piece more or less a chimera, the title character herself also seems to be primarily a projection: “Turandot does not exist! Only nothingness exists“, Ping, Pang and Pong warn the unknown prince to prevent him from attempting the three riddles that need to be solved in order to win the emperor’s daughter Turandot. Anna Sophie Mahler, whose Stuttgart production of Saint François d’Assise 2023 was named the “most unusual opera experience of the year“ by the journal Opernwelt, will set out 100 years after the premiere of Puccini’s enigmatic last opera in search of the “fluid of love“ with which the composer wanted to pacify nerves stretched to the limit in the opera’s finale. Because, this much is certain: this fluidum would also be useful today.

Tenor

Heinz Göhrig

Events

Upcoming events

Jan 4 - Jun 28, 2026

The Magic Flute · Staatsoper Stuttgart

Feb 7 - Mar 22, 2026

The Mastersingers of Nuremberg · Staatsoper Stuttgart

Feb 14 - Mar 13, 2026

Carmen · Staatsoper Stuttgart

Jun 7 - Jul 18, 2026

Turandot · Staatsoper Stuttgart

Past events

Jan 4 - Jun 28, 2026

The Magic Flute · Staatsoper Stuttgart

Nov 16 - Dec 27, 2025

The Robber Hotzenplotz · Staatsoper Stuttgart

Future and recently performed repertoire

Spoletta in Tosca by Puccini

Staatsoper Stuttgart

Altoum in Turandot by Puccini

Staatsoper Stuttgart

Second Jew in Salome by Strauss

Staatsoper Stuttgart

Monostatos in The Magic Flute by Mozart

Staatsoper Stuttgart

1st Knight of the Grail in Parsifal by Wagner

Staatsoper Stuttgart

Petrosilius Zwackelmann in The Robber Hotzenplotz by Schwab

Staatsoper Stuttgart

Balthasar Zorn in The Mastersingers of Nuremberg by Wagner

Staatsoper Stuttgart

Dancaïre in Carmen by Bizet

Staatsoper Stuttgart

Petrosilius Zwackelmann in The Robber Hotzenplotz by Schwab

Staatsoper Stuttgart

About

Heinz Göhrig hasn't added a bio

Tenor

Heinz Göhrig

Events

Upcoming events

Jan 4 - Jun 28, 2026

The Magic Flute · Staatsoper Stuttgart

Feb 7 - Mar 22, 2026

The Mastersingers of Nuremberg · Staatsoper Stuttgart

Feb 14 - Mar 13, 2026

Carmen · Staatsoper Stuttgart

Jun 7 - Jul 18, 2026

Turandot · Staatsoper Stuttgart

Past events

Jan 4 - Jun 28, 2026

The Magic Flute · Staatsoper Stuttgart

Nov 16 - Dec 27, 2025

The Robber Hotzen­plotz · Staatsoper Stuttgart

Future and recently performed repertoire

Spoletta in Tosca by Puccini

Staatsoper Stuttgart

Altoum in Turandot by Puccini

Staatsoper Stuttgart

Second Jew in Salome by Strauss

Staatsoper Stuttgart

Monostatos in The Magic Flute by Mozart

Staatsoper Stuttgart

1st Knight of the Grail in Parsifal by Wagner

Staatsoper Stuttgart

Petrosilius Zwackelmann in The Robber Hotzen­plotz by Schwab

Staatsoper Stuttgart

Balthasar Zorn in The Mastersingers of Nuremberg by Wagner

Staatsoper Stuttgart

Dancaïre in Carmen by Bizet

Staatsoper Stuttgart

Petrosilius Zwackelmann in The Robber Hotzenplotz by Schwab

Staatsoper Stuttgart

About

Heinz Göhrig hasn't added a bio

The Robber Hotzenplotz · Staatsoper Stuttgart

Petrosilius Zwackelmann in The Robber Hotzenplotz by Schwab