Singer

"I no longer have time to think about myself. In no year have I worked as much mentally as in this one," wrote the composer Leoš Janáček while he was working on The Cunning Little Vixen . The composition absorbed him completely, so meticulously did he try to translate the sounds of nature and the animal world into music. Janáček got the inspiration for the story about a young vixen who comes into contact with the human world from a newspaper comic. Nevertheless, The Cunning Little Vixen is not a playful fairytale opera, on the contrary. Two worlds collide, that of the animals and that of the humans. The community around the forester and his family as well as the other villagers is cruel and at the same time full of longing for a better life - but who has the answer to the question of what a real life is like? When the forester and the vixen meet in the forest, nature and apparent civilization come face to face. Thus, The Cunning Little Vixen explicitly shows no cute anecdotes about animals, but a pragmatic, uncompromising world in which it is all about survival. And yet there is room for the love between vixen and fox. Janáček succeeds in sounding out the animal in man and the human in the animal, thus holding up a mirror to us. Almost 101 years to the day after its premiere in Brno in 1924, Stephan Kimmig now turns his attention to an opera full of contrasts and the longing to find a place where one can live free of rules, following Der Prinz von Homburg and Das Rheingold . But does this place even exist?

The Cunning Little Vixen

Stuttgart Opera

Rigoletto wants to protect his daughter Gilda from the abusive Duke at all costs – but his revenge turns into the cruelest of all defeats: It's not the Duke, but Gilda who falls victim. Is this the fulfillment of the gruesome curse imposed on Rigoletto at the beginning? Verdi combines the dark force of a revenge thriller with the tragedy of an unconditional, yet one-sided love – and at the same time creates an explosive political drama, which Jossi Wieler and Sergio Morabito bring to the fore in their production.

Rigoletto

Rigoletto wants to protect his daughter by all means from the advances of the hated, encroaching Duke - but in the end he is struck by the tragic realization that his revenge has failed most horribly: instead of the Duke, his own daughter has fallen victim to him. Tenor Kai Kluge makes his debut as the Duke of Mantua, while Beate Ritter once again takes on the role of Gilda after the acclaimed series in the 2018/19 season. Devid Cecconi sings the title role. The young, internationally acclaimed Italian-Turkish conductor Nil Venditti is at the podium of the Staatsorchester Stuttgart.

EPSG:4326

The Staatstheater Stuttgart

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.

Parsifal

Celebrations are states of exception where everyday life gets transformed. Even at its very beginning the musical form of opera had a close liaison with festivities. But because the once exclusive festive music should now belong to everyone, we invite you to join us for a celebration in the opera house. In his first staging of a music theatre, Eric Gauthier explores the reasons why and how people celebrate. Together with singers, dancers, choir and orchestra, the audience journeys through the various kinds of a lifetime’s festivities. On the playlist: two centuries of vocal and dance music, including unheard rarities.

The Fest

In the foyer of the opera house, Claudia Muschio, Itzeli Jáuregui, Charles Sy and Johannes Kammler present an entertaining and varied evening of songs from the Italian bel canto repertoire. The ensemble singers will be accompanied by Vlad Iftinca on the piano.

3. Song Recital

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

The acclaimed production by Jossi Wieler and Sergio Morabito returns — a staging that delves deep into the supposedly superficial characters. The story of Amina, a sleepwalker wrongly accused of betrayal, is brought to life by a bel canto dream cast featuring Helene Schneiderman, Catriona Smith, Charles Sy, and Claudia Muschio.

La sonnambula

“No human dies for himself alone. One dies for others. Maybe some die instead of others. Who knows?“ (Sœur Constance in Dialogues des Carmélites). Few operas focus on the confrontation with one’s own mortality as much as Francis Poulenc’s opera about an order of Carmelite nuns in the turmoil of the French Revolution, which premiered in 1957. The story revolves around the young Blanche, who – plagued by severe anxiety since birth – finds shelter in a convent. But the time of security ends abruptly when the Revolutionary Committee breaks up the convent and forbids the community from practicing its rites. The sisters swear themselves to martyrdom, but Blanche’s fear of death drives her to flee. Eventually she manages to overcome herself: As she follows her sisters to the scaffold, her fear is extinguished in the face of death. In her production of this hybrid of thriller, discourse opera and holy mass, director Ewelina Marciniak, known for her feminist readings, focuses on the dynamics of a community of women struggling for communication and humanity in the midst of terror. And even if the supernatural “Salve Regina“ of the Carmelite nuns on the scaffold leaves no doubt that this opera is a fervent profession of faith by the Catholic Poulenc, the nuns’ willingness to make sacrifices raises questions: where are the boundaries between solidarity, faith and fundamentalism? How lonely is it to die in our secularized contemporary world? Under the musical direction of Cornelius Meister, Poulenc’s powerful music becomes a unique event.

Dialogues des Carmélites

In his opera Rossini brought together a string of well-known “commedia dll’arte” characters of which he formed an irresistible comedy – full of intrigue and charade: the mercenary guardian Doctor Bartolo and his conniving henchman Basilio, his wealthy charge Rosina and her secret lover Lindoro (alias Count Almaviva) and finally the barber Figaro himself, who assists the young couple in the pursuit of their love against all odds. The opera’s world premiere in 1816 was accompanied by boos and catcalls – only to get firmly established in the world of opera shortly after. Rossini’s work by now has developed into one of the most popular and most frequently played operas world-wide.

Il barbiere di Siviglia

Mozart’s Symphony No. 32 in G major is one of his shortest contributions to this genre. He probably used it as an overture for the opera La villanella rapita by his Italian contemporary Francesco Bianchi. Mozart contributed not only overtures, but also arias to stage works by other composers. Soprano Claudia Muschio presents two of these together with conductor Lothar Zagrosek, who is once again leading the Stuttgart State Orchestra almost twenty years after his departure as General Music Director. Anton Bruckner was deeply impressed by Mozart’s somnambulistic ability: “I deeply admire Mozart and try to preserve his clarity and beauty in my own work.“ The Austrian Romantic surprised his contemporaries with this confession. Throughout his life, Bruckner was accused of not structuring his compositions clearly enough. As a result, he reworked almost all of his nine symphonies several times. A rare exception is his Seventh, which was immediately well received. Bruckner succeeded in creating an exceptionally balanced work - with impressive themes and dramatic progressions.

Soprano

Claudia Muschio

Events

Upcoming events

Nov 9 - Dec 10, 2025

The Cunning Little Vixen · Staatsoper Stuttgart

Feb 17 - Apr 9, 2026

La sonnambula · Staatsoper Stuttgart

Mar 29 - Apr 18, 2026

Dialogues des Carmélites · Staatsoper Stuttgart

Jun 14 - Jul 14, 2026

Il barbiere di Siviglia · Staatsoper Stuttgart

12 - 13 Jul, 2026

7. Symphony Concert · Staatsorchester Stuttgart

Past events

Nov 9 - Dec 10, 2025

The Cunning Little Vixen · Staatsoper Stuttgart

Oct 12 - Nov 11, 2025

Rigoletto · Staatsoper Stuttgart

Future and recently performed repertoire

Sister Constance in Dialogues of the Carmelites by Poulenc

Staatsoper Stuttgart

Pamina in The Magic Flute by Mozart

Staatsoper Stuttgart

Gilda in Rigoletto by Verdi

Staatsoper Stuttgart

Rosina in The Barber of Seville by Rossini

Staatsoper Stuttgart

1.1. Flower girl in Parsifal by Wagner

Staatsoper Stuttgart

Singer in La ricordanza by Bellini

Staatsorchester Stuttgart

Amina in La Sonnambula by Bellini

Staatsoper Stuttgart

Vixen in The Cunning Little Vixen by Janáček

Staatsoper Stuttgart

Singer in Stornello by Verdi

Staatsorchester Stuttgart

Singer in Beltà crudele by Rossini

Staatsorchester Stuttgart

Singer in La zingara by Donizetti

Staatsorchester Stuttgart

About

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