Singer

"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

Staatstheater Hannover

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.

Otello

"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After the death of his wife Marie, Paul lives a withdrawn and isolated life in his apartment.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.

Mezzo-soprano

Anthea Barac

Events

Upcoming events

May 9 - Jun 18, 2026

The dead city · Staatstheater Hannover

Past events

Mar 5 - Apr 19, 2026

Penthesilea · Staatstheater Hannover

Nov 9 - Dec 17, 2025

The Rosenkavalier · Staatstheater Hannover

Future and recently performed repertoire

Emilia in Otello by Verdi

Staatstheater Hannover

Annina in The Rosenkavalier by Strauss

Staatstheater Hannover

High Priestess in Penthesilea by Dusapin

Staatstheater Hannover

Brigitta, with Paul in City by Korngold

Staatstheater Hannover

About

Anthea Barac hasn't added a bio