Stage Director

It’s a rambunctious tale: an old curmudgeon is set on marrying his own ward of court with a view to snapping up her considerable inheritance. He leaves no stone unturned in his efforts to keep the fair Rosina cloistered from the outside world and thus from any potential young suitors. A pity, then, that Count Almaviva has fallen head over heels for her. Assisted by Figaro, an enterprising barber, he plans to outwit the old man, win over Rosina – and ensure that it’s love that attracts her to him rather than his rank and wealth. Not an easy job for Figaro, seeing as the opposite camp is scheming with equal tenacity … Love wins out in the end, and it turns out that all precautions were useless!

The Barber of Seville

Deutsche Oper Berlin

The ProArte »Winter’s Tale« has long since become a cherished tradition in Hamburg. Since 2017, a lovingly compiled and top-class programme has been delighting young and old alike every year on the Elbphilharmonie’s festively decorated stage. Seasoned artists as well as great up-and-coming talents do the honours here, where you can hear cheerful and festive, enchanting and contemplative music. And right in the middle of it all: the wonderful Katharina Thalbach, who brings the »festival of love« to life in all its facets with her unmistakable voice and superb acting – cheerful and touching, profound and profound.

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A Winter’s Tale

Elbphilharmonie Hamburg

In the fairytale forest, we encounter the familiar figures of the poor siblings who have lost their way as well as the Gingerbread Witch. The story comes to a head in the famous edible house, which is sweet on the outside but a death trap within. In 1893 Engelbert Humperdinck transformed the tale by the Brothers Grimm into a work which is probably the most famous fairy-tale opera in the repertoire.

Hansel and Gretel

Semperoper Dresden

The opera "Aida" by Giuseppe Verdi is not only set in Egypt and premiered in Cairo, but throughout the history of its origin it is closely linked to the country on the Nile and its viceroy, the Khedive Ismael Pasha. How Verdi initially reacted to the request to compose the opera and how strongly the contemporary developments in Europe and Egypt influenced the work in addition to the interest in archeology, Johann Casimir Eule tells in the opera guide online.

Aida

Christmas Eve, 1871. In Cairo’s newly built opera house, the curtain rises on the premiere of Giuseppe Verdi’s Aida. This is a turning point in cultural history, when an occidental passion for exoticism and an oriental interest in European high culture come together to create great art. Very few works of opera have achieved such widespread popularity. And rightly so: with its thrilling musical effects, exotic sounds and tableaux, the colourful instrumentation and monumental scenes alternating with moments of great intimacy, Aida is a true musical and dramatic treasure trove. And that’s not all. Through the tragic love affair between the Ethiopian princess Aida and the Egyptian army commander Radamès, torn between the interests of state, church and family, Giuseppe Verdi reflects on the crisis-ridden plight of the modern individual, ending with a highly moving plea for the utopian power of love.

Anyone in Seville who needs help goes to Figaro – the barber has a solution for every problem, because he knows everyone in the city, is well-informed about all the gossip and many owe him a favour. This time, he is to help Count Almaviva free Rosina, who has been imprisoned by her guardian, and win her heart. The then 23-year-old Gioachino Rossini is said to have composed Il barbiere di Siviglia in just three weeks – an opera full of rousing bel canto arias, fast-paced ensembles and dizzying situational comedy. Director Katharina Thalbach skilfully captures the humour of the original work: She relocates the action to a seaside resort where one morning a theatre wagon arrives, carrying characters from the Commedia dell’Arte. Tourists become the audience of a spectacle that blurs the lines between large and small stages, offers many surprising twists and turns and, thanks to Guido Maria Kretschmer's costumes, delights the funny bone and the eyes. Our young Italian conductor, Giovanni Conti, takes to the podium, accompanied by numerous new virtuoso ensemble members.

Stage Director

Katharina Thalbach

Events

Upcoming events

11 - 28 Jun, 2026

Aida · Semperoper Dresden

May 23 - Jun 4, 2027

Il barbiere di Siviglia · Deutsche Oper Berlin

Past events

Dec 22, 2025 - Mar 27, 2026

The Barber of Seville · Deutsche Oper Berlin

21 - 26 Dec, 2025

A Winter’s Tale · Elbphilharmonie

About

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