Singer

"He was your brother... You are avenged, Mother!"
Azucena
When Count Luna and the troubadour Manrico not only find themselves as enemies in a bloody civil war, but also fall in love with the same woman, a fatal tragedy unfolds: Leonora poisons herself, and Manrico is executed by Luna, who then learns that he killed his own brother, believed to be long lost. Manrico had grown up unrecognized by Azucena, who once witnessed the old Count Luna burn her mother at the stake. Deeply traumatized, Azucena swore revenge, kidnapped the count's younger son, and accidentally killed her own child in his place.
With his drama "El Trovador" ( The Troubadour) , Antonio García Gutiérrez wrote the most successful and popular stage work of the Spanish Romantic era in 1836. Giuseppe Verdi was so captivated by this dark romance of love and hate, jealousy and revenge that he used it as the basis for his opera Il Trovatore in 1849/50, without a commission and thus without a guarantee of a premiere . In it, he found the age-old motif of fraternal strife intertwined with the questions of fate, chance, and inner necessity that had always fascinated him. He knew how to carve his characters out of this bizarre story in a highly sophisticated way. His musical imagination was ignited by their contradictions, their imprisonment, and their longings.

The Troubadour

Staatstheater Hannover

"If it had been 'Lehman Sisters' and not 'Lehman Brothers,' the world might look very different today."
Christine Lagarde
When Adam Smith, the founder of political economy, was working on his major work, The Wealth of Nations , he lived with his mother, Margareth Douglas. According to Adam Smith, the principle that everyone should pursue their own advantage was the foundation for the well-being of society as a whole. As he developed this fundamental idea, his mother looked after his everyday well-being. And she probably cooked him dinner the day he wrote: "It is not from the benevolence of the butcher, the brewer, and the baker that we look for our food, but from their looking after their own interest."
250 years after the first publication of The Wealth of Nations, composer Andrea Tarrodi and her librettist Helena Röhr ask themselves: Did Adam Smith perhaps overlook something? Are our current ideas about economics still only based on half the truth?
The internationally sought-after Swedish composer Andrea Tarrodi is famous for her colorful, impressionistic orchestral works. She also performs as a singer-songwriter.

Homo Economicus

Ballhof

“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

“Crunchy, crunchy crunch, who’s going to crunch my house?”
Hanover's cult production of Hansel and Gretel is back—and here it is! Steffen Tiggeler's work has been on the State Opera's program since 1964, making it the longest-running production of this fairytale play, lovingly composed in Wagnerian style by Engelbert Humperdinck and with a nostalgic libretto by his sister Adelheid Wette.
Hansel and Gretel, the children of a broom-making couple, live in dire poverty. There's hardly any food on the table at home. So, while their father senses trouble, their mother sends them into the forest to gather berries. Hansel and Gretel get lost and fall into the clutches of the evil gingerbread witch, who wants to turn them into gingerbread and consume them herself. Gretel manages to outwit the gingerbread witch, who throws them both into the oven. In the happy ending, all the gingerbread children who had previously fallen into the clutches of the witch are freed. Father and mother also find Hansel and Gretel safe and sound.

Hansel and Gretel

The Rosenkavalier

Funny, elegant, erotic, melancholic: women in society are viewed in the panorama of a fake world. A society lady in a midlife crisis leaves her marriage with a young lover, but soon wisely leaves him with a younger woman. A bon vivant who thinks he can exchange his noble name for fresh meat and money is thrown out. A boy of rank and name changes from one great love to another and a young daughter from a nouveau riche family still believes in the one and only. All beautiful appearances, full of waltz music, kitsch and sugar coating - with a dash of biting irony and yet full of truth.

Mezzo-soprano

Monika Walerowicz

Events

Upcoming events

13 - 25 Jun, 2026

The Troubadour · Staatstheater Hannover

Past events

13 - 25 Jun, 2026

The Troubadour · Staatstheater Hannover

Apr 11 - May 25, 2026

Homo Economicus · Staatstheater Hannover

Future and recently performed repertoire

Marcellina in The Marriage of Figaro by Mozart

Staatstheater Hannover

The Crunchy Witch in Hansel and Gretel by Humperdinck

Staatstheater Hannover

Azucena in The Troubadour by Verdi

Staatstheater Hannover

Annina in The Rosenkavalier by Strauss

Staatstheater Hannover

About

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