Singer

The Rosenkavalier

Staatstheater Hannover

“Having escaped the storm of the elements, Otello will succumb to the storms of his own self.”
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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.

Otello

“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

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

“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

"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.

Tenor

Michał Prószyński

Events

Upcoming events

Nov 9 - Dec 17, 2025

The Rosenkavalier · Staatstheater Hannover

Dec 13, 2025 - Jan 9, 2026

Tosca · Staatstheater Hannover

Feb 2 - Mar 11, 2026

Turandot · Staatstheater Hannover

Mar 1 - May 30, 2026

The Marriage of Figaro · Staatstheater Hannover

May 9 - Jun 18, 2026

The dead city · Staatstheater Hannover

Past events

Nov 9 - Dec 17, 2025

The Rosenkavalier · Staatstheater Hannover

Sep 24 - Oct 10, 2025

Otello · Staatstheater Hannover

Future and recently performed repertoire

Pong in Turandot by Puccini

Staatstheater Hannover

Roderigo in Otello by Verdi

Staatstheater Hannover

Spoletta in Tosca by Puccini

Staatstheater Hannover

Basilio in The Marriage of Figaro by Mozart

Staatstheater Hannover

Valzacchi in The Rosenkavalier by Strauss

Staatstheater Hannover

Victorin / The director in City by Korngold

Staatstheater Hannover

About

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