Singer

“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

Staatstheater Hannover

The Rosenkavalier

Singing together is empowering—and fun! This is not only true for the children of the children's choir, who will show off their talents at this family concert, but also for everyone in the audience, who can join in again and again. Choir director Tatiana Bergh invites you to discover different music and your own voice. The program includes hits from the film The Children of Monsieur Mathieu , autumn songs, and excerpts from operas featuring children's parts. Even Papageno has announced his visit!

Together we are strong!

“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

Opera with a text by Händl Klaus (definitive version, 2015-2018, premiered in 2019)

Part of the performance takes place in complete darkness.
Concert performance.

Salzburger Festspiele – Ouverture Spirituelle · Et exspecto – Koma

Mozarteum Foundation

"Not a pretty sight. Modernity begins."
Christa Wolf on Kleist's Penthesilea
A woman and a man, united by a politically senseless war, obsessed with defeating the other: the Amazon Penthesilea and the Greek Achilles. When Heinrich von Kleist transformed this ancient myth into a play in 1808, he reversed the story's gruesome ending: It wasn't Achilles who slays Penthesilea and then falls in love with the dead woman's body, but Penthesilea who falls in love with Achilles, kills him, and mauls his corpse.
Kleist's tragedy irritated his contemporaries: eroticism and aggression appear interchangeable, women fight like men, hunters become prey, and Penthesilea becomes an animal. This was not how Kleist's contemporaries imagined either antiquity or the theater. It didn't help that the most gruesome scenes weren't shown on stage, but merely reported: Penthesilea was never performed during the author's lifetime. It wasn't until the second half of the 20th century that this idiosyncratic work garnered interest and understanding.

Penthesilea

"How far should our grief go, how far may it go, without uprooting us?"
Paul
After the death of his wife Marie, Paul lives a withdrawn and isolated life in his apartment. He only remains in contact with his friend Frank and Brigitta, who runs his household. But when Paul meets the dancer Marietta on the street, who bears a striking resemblance to Marie, his life, marked by grief, takes a turn: While Paul tries to make Marietta more and more like his deceased wife, the inner conflict between reality and ideal becomes increasingly overwhelming. Marietta initially plays along, but refuses to allow her independence and freedom to be restricted.

Baritone

Peter Schöne

Events

Upcoming events

Nov 9 - Dec 17, 2025

The Rosenkavalier · Staatstheater Hannover

3 - 23 Dec, 2025

Hansel and Gretel · Staatstheater Hannover

Mar 5 - Apr 19, 2026

Penthesilea · Staatstheater Hannover

May 9 - Jun 18, 2026

The dead city · Staatstheater Hannover

May 20, 2026

Song Concert: Peter Schöne · Staatstheater Hannover

Past events

3 - 23 Dec, 2025

Hansel and Gretel · Staatstheater Hannover

Nov 9 - Dec 17, 2025

The Rosenkavalier · Staatstheater Hannover

Future and recently performed repertoire

The King's Herald in Lohengrin by Wagner

Staatstheater Hannover

Peter, broom maker in Hansel and Gretel by Humperdinck

Staatstheater Hannover

Mr. von Faninal in The Rosenkavalier by Strauss

Staatstheater Hannover

Achilles in Penthesilea by Dusapin

Staatstheater Hannover

Frank, Paul's friend in City by Korngold

Staatstheater Hannover

Michael in Koma by Haas

Klangforum Wien

About

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