Singer

"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

Staatstheater Hannover

Beijing, in a fairytale setting: At the imperial court, Princess Turandot has made her own marriage a law: Anyone wishing to marry her must answer three riddles correctly; anyone who fails is executed. When a stranger appears, he decides to take on the challenge. He is the only one who succeeds in solving the riddles and, in turn, gives the princess a task: If Turandot can reveal his name by dawn, he is prepared to renounce her hand and die.
Behind the murderous brutality of Turandot's law and her cold-blooded rejection of all suitors lies a deep transgenerational trauma. These unsolvable tasks serve only as self-protection: An ancestor was brutally abused and murdered by her husband. Jakob Peters-Messer's production examines Puccini's fairytale opera for this deep psychological cause and simultaneously reveals the inherent ambivalence of tragedy and grotesque comedy.

Turandot

The Rosenkavalier

“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.

Tenor

Jonathan Winell

Events

Past events

Apr 11 - May 25, 2026

Homo Economicus · Staatstheater Hannover

Mar 1 - May 30, 2026

The Marriage of Figaro · Staatstheater Hannover

Future and recently performed repertoire

Bang in Turandot by Puccini

Staatstheater Hannover

Cassio in Otello by Verdi

Staatstheater Hannover

Antonio in The Marriage of Figaro by Mozart

Staatstheater Hannover

A host in The Rosenkavalier by Strauss

Staatstheater Hannover

Major-domo at Faninal in The Rosenkavalier by Strauss

Staatstheater Hannover

Major-domo to the Field Marshal in The Rosenkavalier by Strauss

Staatstheater Hannover

About

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