Singer

“Ha, do you call your cowardice God?”
Political instability reigns in the Duchy of Brabant: Since the disappearance of the heir to the throne, Gottfried, the succession has been unclear. Elsa, the eldest daughter of the deceased duke, is accused of murdering her brother in order to rule in his place. However, the accuser is himself driven by power interests, and the influence of King Henry, who is supposed to administer justice, is questionable. A trial by ordeal is intended to restore order, with the accuser and a representative of Elsa fighting each other. In this seemingly hopeless situation, a mysterious stranger—Lohengrin—takes Elsa's side. He wins the fight, but the mysterious circumstances cast doubt on the trial by ordeal. Even Lohengrin's success with the Brabant masses cannot establish lasting order. Only the clarification of the crime and an admission of guilt bring new stability—but also bring about the departure of the fairytale savior and the end of the seemingly unconditional love affair. Almost 40 years after Hans-Peter Lehmann's legendary production, the Hanover State Opera is staging a new production of Lohengrin . Just as Richard Wagner's opera connects the historical figure of Henry I with the legend of the Holy Grail, and martial choirs with ethereal sounds, Richard Brunel's production combines the question of the connection between power and justice with imagery inspired by depth psychology.

Lohengrin

Staatstheater Hannover

His era's enthusiasm for the oratorio genre also inspired Antonín Dvořák, who significantly advanced the national tone poem in this genre. The plot of The Ghost Bride is taken from a popular ballad by the Czech poet Karel Jaromír Erben: A pious girl longs to be reunited with her lover, who was lost in the war. Having fallen in battle, the latter seeks her out as an undead bridegroom and attempts to lead the bride to eternal damnation. Seemingly on her way to him, she is gradually forced to discard all signs of her faith. But in the end, her faith prevails and saves her from the realm of the dead.

Love & Damnation

Gewandhaus

Joint concert in cooperation with the Giessen Philharmonic Orchestra

"Adoration of the Earth" and "The Sacrifice" – these are the titles of the two parts of "The Rite of Spring." "The work of a madman" and much more could be heard about Stravinsky's dramatic ballet after the Paris premiere in 1913 – some in the audience even became violent, because what had just been presented was completely out of step with the traditions of previous ballets.

EPSG:4326

Grand Symphony Concert

Siegerlandhalle, Siegen

“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

"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.

Baritone

Grga Peroš

Events

Upcoming events

Dec 13, 2025 - Jan 9, 2026

Tosca · Staatstheater Hannover

13 - 25 Jun, 2026

The Troubadour · Staatstheater Hannover

Past events

Oct 3 - Nov 8, 2025

Lohengrin · Staatstheater Hannover

Sep 28, 2025

Love & Damnation · MDR-Sinfonieorchester

Future and recently performed repertoire

Friedrich von Telramund, Count of Brabant in Lohengrin by Wagner

Staatstheater Hannover

Baron Scarpia / A Turnpike in Tosca by Puccini

Staatstheater Hannover

Singer in Svatební košile by Dvořák

MDR-Sinfonieorchester

The Count of the Moon in The Troubadour by Verdi

Staatstheater Hannover

About

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