Singer

“This is a delicate matter, how will it end?”
Countess, Susanna and Figaro
On the occasion of Figaro and Susanna's wedding, Count Almaviva wants to once again indulge in the long-abolished "right of the first night," setting in motion a machine of confusion, intrigue, and doubt that ultimately leads to the exposure of the Count's abuse of power, but also to the possibility of forgiveness.
Only a composer like Wolfgang Amadeus Mozart could have come up with the downright ludicrous idea of ​​setting Beaumarchais's La folle journée ou Le mariage de Figaro to music in 1786 , the most politically explosive comedy of those years—a portrait of a society in upheaval and a nobility once again exercising their privileges and blindly running towards their own ruin. The very first bars of the overture make it irresistibly clear: in this play, every bar, every syllable, every whisper carries the undertone of nervous excitement. There is a standstill only at the turning points, those precious moments in which Mozart reveals the inner lives of his heroes. But the adventure continues, and only the onset of night can bring this "mad day" to an end.

The Marriage of Figaro

Staatstheater Hannover

“Have you tortured me enough?”
Floria Tosca lives entirely for music and her love for the artist Mario Cavaradossi. When Cavaradossi is sentenced to death for his political activism against an inhumane regime, the singer too is on the brink. The jealous Baron Scarpia tries to blackmail Tosca: If she wants to save her lover from execution, she must give herself to Scarpia. Tosca pretends to accept the deal – and stabs Scarpia. But the path to freedom is deceptive. Scarpia's power extends beyond death.
In hardly any other opera are personal passion and political arbitrariness so closely intertwined and yet so cruelly exposed as in Giacomo Puccini's Tosca from 1900. The relentless reckoning with abuse of power and machinations, coupled with a deeply moving love story, continues to electrify audiences today, with a score that combines gripping drama and nerve-wracking tension with moments of enchanting beauty. Arias like Tosca's "Vissi d'arte" and Cavaradossi's "É lucevan le stelle" are not without reason considered icons of Italian vocal art.

Tosca

The Rosenkavalier

"Am I still Don Juan? No, I don't know anything about him anymore. The role is over. Something has ended, and something else is beginning."
Don Giovanni—the epitome of the ruthless, charismatic seducer. His life is marked by interpersonal encounters, affairs, and relationships. He savors life to the fullest, finding himself in the midst of a frenzied feast. But now Don Giovanni crosses the line: in a duel, he kills the Commendatore, which suddenly leaves a pool of blood in his life book, which was previously meticulously filled with women's names.
The production by Bastian Kraft and his team questions Don Giovanni about the life images of this radically ruthless man, who already sees his own death approaching and yet clings to life once more. More and more memories of his life so far intrude on him. But the voices of the dark figures he encounters—opponents, rivals, lovers—also grow louder and louder. Don Giovanni's actions do not remain without consequences. The images of a single night are overwritten and blurred beyond recognition.

Don Giovanni

“Having escaped the storm of the elements, Otello will succumb to the storms of his own self.”
source
What an opening to an opera! Amid an apocalyptic storm, a naval battle rages off the coast of Venice. Without warning, Giuseppe Verdi transports us into the action with thunder, lightning, and cannon shots; we can almost feel the storm and spray on our skin. The situation seems hopeless for the Venetian fleet—then their general, Otello, appears unscathed and victorious at the harbor. He has defeated not only his enemies, but also the forces of nature. But how will this war hero cope in civilian life? Traumatic memories haunt him; an all-encompassing mistrust has taken hold of him; he feels isolated from society; no one can get through to him. In this atmosphere, his relationship with his wife crumbles before our eyes and ears. Desdemona was once the only person with whom Otello could be completely himself; now he eyes her suspiciously and threatens her. Verdi's music depicts Othello's journey from celebrated soldier to murderer of his wife, whose love he simultaneously longs for.

Otello

When social roles and values ​​are renegotiated, existential questions arise: Who am I? Who can I be? And what can I do to be a good person? In The Greek Passion , the residents of a Greek village are painfully confronted with this after they have assigned the roles for the upcoming passion play. When a group of refugees appears and asks for help, the overwhelming feeling grows. The Greek Passion deals with the most important themes of our coexistence: humanity and charity. With Greek folklore, Orthodox liturgy and large choral tableaux, it tells the story in a musically folk-like way, making it one of the most magnificent and haunting operas of the 20th century.

The Greek Passion

Opernplatz

When Salome had its world premiere in 1905, it marked the beginning of Richard Strauss’ operatic successes. Based on Oscar Wilde’s sensational tragedy, Strauss composed a musical drama rife with unleashed passion, whose worldwide success not even prudish censors could stop. Using one of the most scandalous stories in cultural history, whose origins lie in the New Testament, Strauss created a musical and stunning psychological profile of the unconscious, laying bare the conflict between sensuality and asceticism, between intoxication and loneliness, power and love.

Salome

Oper Leipzig

A premiere as a stark warning against hatred and repression: The 1972 Olympic Games in Munich were supposed to be a sporting festival in the name of peace. Instead, the catastrophe occurred, eleven Israeli athletes were killed by terrorists. The failure of the security forces and the way the Germans dealt with guilt still have an impact today. In the new opera, the lightness of the play is mixed with anxiety and chaos. The production removes the event from its distance and shows us the ghosts of history in powerful images. The sporting disciplines portrayed in the music and the wild jazz of the Steamboat Switzerland trio, which works together with the orchestra, loosen up the virtuoso time and rhythm structure. Corinna Harfouch is one of the most sought-after German actresses.

Echo 72

This year's Christmas concert of the Lower Saxony State Orchestra in the magnificent hall of the Herrenhausen Gallery Building is characterized by pleasantly deep sounds. These can not only be a strong foundation for the music, but can also conjure up beautiful melodies. Solo bass voices will therefore lead the concert. Daniel Eggert from the State Opera Ensemble and Bors Balogh, solo double bassist of the State Orchestra, demonstrate the multifaceted nature of the depth with its changeable timbres - whether in a powerful aria, a dreamy double bass solo or a playful bass duet. The program is framed by the wonderful Haydn symphonies Le soir ( The Evening ) and Le matin ( The Morning ). Stephan Zilias will be conducting the State Orchestra this year.

Bass

Daniel Eggert

Events

Past events

Mar 1 - May 30, 2026

The Marriage of Figaro · Staatstheater Hannover

Dec 13, 2025 - Jan 9, 2026

Tosca · Staatstheater Hannover

Future and recently performed repertoire

Lodovico in Otello by Verdi

Staatstheater Hannover

The Commendatore in Don Giovanni by Mozart

Staatstheater Hannover

Nazarener in Salome by Strauss

Oper Leipzig

Bass in Per questa bella mano by Mozart

Staatstheater Hannover

Sexton in Tosca by Puccini

Staatstheater Hannover

Bartolo in The Marriage of Figaro by Mozart

Staatstheater Hannover

Baron Ochs at Lerchenau in The Rosenkavalier by Strauss

Staatstheater Hannover

About

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