Name: Matsukaze
Start: 2025-05-11T19:30:00
Location: Utopia

The Bayerische Staatsoper presents a dazzling lineup of events, each with its unique artistic flair, from city exploration blended with musical life to captivating operatic performances. As we dive into the world of ballet, opera, and cultural dialogues, this season promises to enthrall audiences with both tradition and innovation. Let's explore the highlights, including the poignant 'La Sylphide', the engaging 'Unter 6 Augen', and the iconic 'Cavalleria Rusticana / Pagliacci', among others, creating an unforgettable artistic journey.

Unveiling the Artistry at Bayerische Staatsoper: A Journey Through Events and Performances

The Bayerische Staatsoper's 2024-2025 season is a vibrant tapestry of artistry and storytelling, unfolding across a series of captivating events. From the timeless elegance of 'La Sylphide' to the poignant drama of 'Káťa Kabanová', and the introspective dialogues in 'Unter 6 Augen', this season promises to enchant audiences with its blend of tradition and modernity. As the curtain rises, immerse yourself in an exceptional blend of ballet, opera, and cultural exploration, each event offering a unique experience that transcends time and geographical boundaries.

Unveiling the Bayerische Staatsoper's 2024-2025 Season: A Journey Through History, Innovation, and Emotion

The Bayerische Staatsoper promises an exciting season of opera and ballet with their 2024-2025 lineup. From the poignant 'La Sylphide' to the thought-provoking 'Das Jagdgewehr,' audiences will be treated to a diverse array of performances showcasing celebrated artists and innovative productions. Highlights include a journey through Munich's musical and cultural landscape, engaging discussions in 'Unter 6 Augen,' and the revival of classic operas like 'La Fille du régiment' and 'The Love of Danae.' This season offers a vibrant tapestry of storytelling and musical prowess, promising an unforgettable experience.

Exploring the Heart of Opera and Ballet: Bayerische Staatsoper's 2024-2025 Lineup

The Bayerische Staatsoper unveils a captivating array of performances in its 2024-2025 season. This season promises to blend the timeless with the innovative, offering audiences a rich tapestry of musical and theatrical experiences. Highlights include the romantic ballet 'La Sylphide,' a bold new staging of 'La Fille du régiment,' and the introspective 'Das Jagdgewehr.' With a focus on classical masterpieces like 'Don Giovanni' and contemporary explorations like 'Matsukaze,' this season is set to captivate and challenge audiences in equal measure.

A Symphony of Art: Exploring Bayerische Staatsoper's 2024-25 Season

Natalie Lewis

Alexandre Bloch

Paweł Horodyski

Seonwoo Le

Yuko Kaseki

Thomas Schmauser

Corey Scott-Gilbert

Matthias Singer

Alicja Kwade

Annika Lu

Bayerische Staatsoper

Whether the word “wave” reminds us of a beach by the sea, the radio or a football stadium – the idea of ​​energy is always in there somewhere. An energy that looks for its path and awakens the impression of liveliness. Waves often spread in circles, going out in all directions from a center point. Waves and circles play a role in a different way in the triple bill ballet program, Waves and Circles – they are extolled, are visible or are tangible.

Waves And Circles

Max-Joseph-Platz

Seeing his love succeed against the will of the parents is pretty difficult in a rural setting. Especially when he is also considered an outsider, things do not look good with the parents-in-law, and there's a lot of money in the mix as well. But what Hans negotiates with Kezal the marriage broker, without discussing it with his beloved Marie, certainly requires a very special kind of chutzpah, and it very nearly goes all wrong – bartering his loved one to a certain person, which turns out through rhetorical trickery to be himself, only becomes evident as a good idea at the end. Which once again proves: The comedy is only a tragedy avoided at the very last minute.

The Bartered Bride

On his futile search for the meaning of life, the ageing scholar Faust makes a pact with the Devil. Méphistophélès buys his soul and promises him eternal youth and love. Faust falls in love with Marguerite, however she soon leaves him. After she has killed their child, Marguerite succumbs to madness, but emerges morally superior from the encounter with Faust.

Faust

In the portrait concerts of the Opera Studio, two singers and a pianist from the Opera Studio present themselves. The program consists exclusively of song repertoire, which is selected by the singers in consultation with the pianists and, along with operas, forms an important part of the vocal repertoire. The portrait concerts offer the possibility to get to know the three artists in their own way and with their history in a nice atmosphere.

Portrait Concert 2

Artist House

"How beautiful Princess Salome is tonight!". Oscar Wilde's French drama, arranged as opera text by the composer himself, was a stroke of genius of the fin de siècle, a scandal on one hand and an absolute hit on the other, both an artistic and a financial success which allowed Richard Strauss to buy his villa in Garmisch. Salome demands the head of the prophet, John the Baptist, who has rejected her, from her lustful stepfather – and bound by an oath, he cannot deny her. And so the zealous admonisher dies, and with him the princess is undone – "Kill this woman!". Krzysztof Warlikowski is convinced that Salome recounts many of the contradictions of the period of origin, that in this piece, however, much is also dismissed of that which at the time was still the future: "It's not just what's in the work of art itself that is important, whether it be Oscar Wilde or Richard Strauss, but rather the whole context, which Christianity and the history of the 20th century add to this piece."

Salome

A sovereign may do as he wishes. His entire surroundings depend on him, no-one is entitled to contradict him, all must suffer his moods. Only one may hold a mirror to him, is even obliged to criticise the ruler – the jester. But what happens when this fool neglects his most important task and puts himself at the service of the moral excesses exemplified by the tyrant? In his play Le Roi s’amuse (The King Amuses Himself), the French dramatist Victor Hugo went through this starting position with an unscrupulous fun-lover as the king, and a fool whose spiritual deformation has manifested itself in a hunchback.

Rigoletto

Dressed as a man and calling herself “Fidelio”, Leonore surreptitiously gains the confidence of the jailer Rocco and his daughter Marzelline, thus gaining access to the high security tract where her husband Florestan has been despotically incarcerated by Don Pizarro. Florestan is in mortal danger, but this does not intimidate his wife, who is determined to liberate him. Finally, however, the two of them can only be rescued by an emissary from the monarch. At the end, a Utopia in the form of a final chorus sets the stage aglow, not only as a plea for freedom and justice, but also concurrently as a condemnation of the anxieties and restrictions of human existence.

Fidelio

Portrait Concert 3

Elektra's father: murdered. Her mother and her paramour Ägisth were his murderers. The disheveled Elektra is determined to avenge the parricide. She has the axe for the deed but not the strength. Then her brother Orest appears … Armor-plated emotions! – whipped up by a gigantic orchestra. An aristocratic cast of singers. An enthusiastically cheered staging by Herbert Wernicke. A shattering drama of the Soul.

Elektra

Understanding common requirements is part of the nature of artistic work. From there on progress can be made and new work created. The three choreographers whose works form the Common Ground performance share a connection with the Nederlands Dans Theater (NDT) in The Hague. Along with a shared artistic conviction, in which humour also has its place, their choreographies are interwoven with connections filled with subtle content – and all of them have had world premieres at the NDT. The first two are inspired by music for string quartet. And the first and third pieces are each based in their own way on the concept of seduction.

Common Ground

Neither balsam, nor medicinal herbs can provide relief to the wounded and ailing Amfortas, ruler of the Grail kingdom. His path to recovery proves to be a complex one. No member of the Grail community can reclaim the spear which inflicted the wound, but only an outsider, a “pure fool”, enlightened by compassion. Only by the tip of this spear touching Amfortas’s wound can he be healed. On his journey of self-discovery, towards his destiny as chosen deliverer, Parsifal is accompanied, not only by the skilful Grail Knight Gurnemanz, but also by the enigmatic and seductive Kundry, who opens his eyes to sensuality and extrasensory experience.

Parsifal

There are few operas, which from the very first bar endure such intense pressure, few in which the temperature swings from ice-cold calculation to overheating in mere seconds. And scarcely any in which private entanglement and personal tragedy are so interwoven with political attitudes in historical accuracy. Giacomo Puccini’s Tosca has electrified audiences since its world premiere. The shock wave emitted by the opera was so strong that decades later many reactions still tend to point to the bewilderment and overpowering of those affected rather than the qualities of the piece itself and its love triangle surrounding the singer Floria Tosca, the painter Mario Cavaradossi and the chief of police Baron Scarpia. The artistic world of the protagonist couple, Tosca and Cavaradossi, is no colouristic ingredient here, but rather defines the profile of its characters – it justifies Tosca’s eccentricity, just as it does Cavaradossi’s liberality and also explains the singer’s pronounced self-confidence: The heroine of the stage becomes a heroine in real life. Scarpia’s appearance must also be understood as the emergence of his unleashed totalitarian power, and his sexual sadism still today as one of the truly scandalous moments of opera literature. The historical detail is certainly no staffage, but rather forms the, “precondition of the conflict between the representatives of two opposing social systems” (Norbert Christen) in a time of crisis. With his mish-mash of musical recognition motifs, which, with the exception of the rigid Scarpia chords, sensitively adjust to the situations, Puccini achieves a new dimension of through-composed operatic structure – in the intensive cohesion of the score, he nevertheless creates islands in which reflection compacts itself into moments of the highest possible arioso intensity.

TOSCA

The somnambulistic piece Matsukaze, a reworking of theJapanese Nō theatre material of the Master Zeami from the 15th century, recounts the unhappy love of two sisters, the salt water maidens, Matsukaze and Murasame, for the courtier, Yukihira. When he must leave one day, he promises them he will return, for his longing will call him back. But, he dies. The two sisters are left imprisoned by their yearning, become ghosts, return to the living again and again. Only a monk can help them out of their entrapment. Hosokawa’s composition transforms nature moods into tender, loving sounds, plays with silence, traces the passage of time and non-passage of intimate feelings, madness, the relationship between past, present and future, between the fundamental connection of human existence and nature. The world premiere was celebrated in 2011 at the Opéra La Monnaie in Brussels. For the Bayerische Staatsoper production, the director duo Lotte van den Berg and Tobias Staab will now collaborate for the first time with the visual, internationally active artist, Alicja Kwade.

Matsukaze

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