From opera comedies to orchestral spectacles, Oper Frankfurt hosts a dazzling lineup of performances that'll captivate music lovers this March and April. A blend of old favorites and contemporary creations, featuring talents like Matthew Polenzani and Francesco Meli, ensures a season full of varied and exciting musical experiences. Let's dive into the specifics of these diverse events and the artists who bring them to life, capturing the essence of each performance and exploring their cultural significance.

A Month of Musical Masterpieces: Oper Frankfurt's March to April Events

This spring, Oper Frankfurt opens its doors to a series of captivating events, ranging from the thought-provoking operatic meditations in 'L’invisible' to the delicate melodies of renowned tenors and sopranos. As audiences gather, they are set to experience the enchanting recitals of Francesco Meli and Asmik Grigorian, a jubilant orchestral celebration, and more. Join us as we delve into the excitement and creativity showcased in these events, highlighting the performers and the unique stories woven through the music and performances at this iconic venue.

Oper Frankfurt: A Spring Symphony of Diverse Performances

This spring and summer, Oper Frankfurt is set to be the heart of an exciting array of musical experiences. From thought-provoking operas like 'L’invisible' and 'Melusine', to the symphonic charms of 'Contrapuntal Wizards' and 'Cheerful & Burlesque', the season promises a compelling exploration of human emotions and stories. Renowned performers such as Francesco Meli, Georg Zeppenfeld, and Asmik Grigorian will grace the stage, captivating audiences with their recitals. Whether you’re a seasoned opera lover or a newcomer to the scene, these events offer an engaging and diverse musical journey.

Oper Frankfurt Celebrates a Rich Tapestry of Musical Narratives

Cláudia Ribas

Erik   van Heyningen

Karolina Makuła

Irina Simmes

Gerard Schneider

Sebastian Geyer

Titus Engel

Fabian Wendling

Joachim Klein

Daniela Selig

Daniela Löffner

Oper Frankfurt

a moving story about an outsider, turned into a scapegoat by his small-minded, vindictive fellow villagers. The only way to escape his wretched life and them, baying for his blood, is by scuttling his boat and drowning at sea. Michel Friedman discusses this with a former chairman of the SPD, minister in several cabinets and vice chancellor: Franz Müntefering.

Michel Friedman (a well known person in Germany) in conversation

Introductory talks (in German) in the Holzfoyer 30 minutes before curtain up, available here shortly after opening night and everywhere where podcasts are to be found.

Amor vien dal destino

»If I survived, and others didn’t, then it was probably to attest to what Auschwitz was.« Said Zofia Posmysz, explaining why she wrote her novel The (female) Passenger. Polish composer Mieczyslaw Weinberg, who suffered under the brutality of the SS as well as Stalin’s reign of terror, found a guardian and supporter in Dmitri Shostakovich. It was he who suggested he turn Posmysz' novel into an opera. Director Anselm Weber and set designer Katja Haß cleverly managed to depict different times and places – present day and memories: A ship sailing to Brazil in the 1950s. Lisa and her husband Walter are on their way to start a new life when an encounter suddenly confronts Lisa with the past, when she was a KZ guard in Auschwitz. Is the other passenger a former prisoner, Marta? Lisa was convinced she had died but now stands face to face with her. Walter’s dumbfounded and fears for his future as a diplomat – he knew nothing of his wife’s past.

The (female) Passenger

The relationship between Cio-Cio-San, called »Butterfly«, and US American marine officer Benjamin F. Pinkerton begins as a proforma wedding – with unexpected consequences: the young Japanese woman cuts herself off from her family, hoping to leave her impoverished origins behind; Pinkerton, on the other hand, despite his overwhelming desires, doesn’t feel committed to this »provisional marriage«. When he’s ordered home Cio-Cio-San’s left behind, expecting his baby. She waits unwaveringly for his return; her only rock is her faithful servant Suzuki. But when Pinkerton’s ship re-docks in Nagasaki, the illusion shatters: He married another woman in America. When Butterfly realises they intend to take her child as well, she sees no other way out; she commits ritual suicide, as her father before her. Doing away with superficial clichés, the director R.B. Schlather focuses on the human tragedy, for which Puccini, Master of Melody found such heart-rending music.

Madama Butterfly

A year of political and musical upheaval. The title of French composer Elsa Barraine's 2nd symphony is the Russian word for »war«, a work commissioned by the French Ministry for Culture in 1938. After the annexation of Austria and the Munich Agreement war was in the air, and subsequent events proved her right. But the work hints at a distant future. The war in the 1st movement is followed by a funeral march in the 2nd before the music returns to life in the finale.

6th Sunday & Monday Symphonic Concerts

Alte Oper

Patrick Grahl's wonderful voice and oustanding diction has made him one of the most sought-after tenors of his generation, in particular for oratorio and concert work, working regularly with musicians including the Leipzig Gewandhausorchester, the NDR Radio Philharmonie, the Accademia Nazionale di Santa Cecilia and London Symphony Orchestra with conductors such as Sir John Eliot Gardiner, Sir Simon Rattle and Philippe Herreweghe. Born in Leipzig, he was a member of the Thomanerchors before studying for his masters at the »Felix Mendelssohn Bartholdy« university. Alongside his busy operatic career, which has taken him to places including Venice, Helsinki, Budapest and Lyon, he is passionate about singing Lieder. Don't miss the chance to hear him with his pianist Klara Hornig singing works you've probably never heard before, by Wilhelm Weismann, Rudolf Wagner-Regény, Hanns Eisler and Johannes Weyrauch, which you can hear again if you buy their much praised recording Das ferne Lied.

Patrick Grahl (tenor) & Klara Hornig (piano)

A wealthy man wants to immortalise his life and success in an illustrated book, which confronts him with an uncomfortable reality.

Written on Skin

Julies Massenet’s much loved opera Werther moves between ecstasy and resignation, dream and reality, sensual desire and the longing for death. Central to this feverish drama, based on Goethe‘s 1774 epistolary novel, are Werther and his impossible love for Charlotte, who promised her dying mother to marry dependable Albert. Charlotte repeatedly turns Werther down, although she shares his feelings. It ends with Werther taking his life on Christmas Eve.

Werther

Music is always a reflection of its time. Bernstein's Age of Anxiety, written between 1947 - 1949, inspired by a poem by Auden, describes people's uncertain and changeable feelings after World War II. The poem's about four young people drowning their fears and loneliness in a New York bar, desperately seeking stability and faith in a world they no longer recognise.

7th Sunday & Monday Symphonic Concerts

One of the leading mezzo-sopranos of our time is back in Frankfurt, where she thrilled audiences with Sesto (role debut) in La clemenza di Tito, Charlotte inWerther, Marguerite, in a new La damnation de Faust, and Sara in concert performances of Donizetti's Roberto Devereux, for this recital with her friend and accompanist Julius Drake, with whom she gave two other unforgettable recitals here. This British artist is a regular guest at leading houses in Europe and the USA, singing roles including Carmen, Dorabella (Così fan tutte), Lucretia (The Rape of Lucretia), Ariodante, Xerxes, Agrippina, Ruggiero (Alcina), Dejanira (Hercules), Madame de Croissy, Mère Marie (Dialogues des Carmélites) and Cassandra (Les Troyens). Much sought-after as a Lieder singer she appears regularly in recital at venues including the Carnegie Hall, Wigmore Hall, the Konzerthaus in Vienna and Concertgebouw in Amsterdam - there are lots of prize-winning recordings to choose from, full of thrilling and profound interpretations of Lieder you love. Alice Coote received an OBE for her services to music in 2018.

Alice Coote (mezzo-soprano) & Julius Drake (piano)

Richard Wagner revolutionised music with his version of theTristan story, popular since the Middle Ages. His opening Tristan chord paved the way for modern music and encapsulates the core of this tragic love story – an insatiable longing, ceaselessly striving for relief. »Only in the face of death are the lovers able to give themselves unrestrainedly to each other«, said Katharina Thoma, focussing on the subconscious, their past lives, loss and the meaning for life of both protagonists. She explores the reasons for loneliness, which go beyond societal difficulties and external influences in Johannes Leiacker’s clear, focussed space.

Tristan und Isolde

Joseph Calleja is one of the most sought-after singers alive today. His supple, beguiling voice, often compared to legendary tenors including Gigli, Pavarotti and Caruso, has taken him to leading opera houses all over the world. During the 2024/25 season engagements included Rodolfo in La bohème at the Metropolitan Opera in New York, Cavaradossi in Tosca at the Semperoper in Dresden, and concerts for the Lithuanian National Philharmonic Society, in Shanghai's Performing Arts Center (his debut in China) and the Musiikkitalo in Helsinki. Now he's back at Oper Frankfurt, where roles he thrilled audiences with included Gounod's Roméo, the title role in Mascagni's L’amico Fritz (in concert), Rodolfo, Edgardo (Lucia di Lammermoor), Don José (Carmen), and Nadir and Ruggero in concert performances of Bizet's Les pêcheurs des perles and Puccini's La rondine, and a recital with Tatiana Lisnic, for this recital. The Maltese government made him their country's Cultural Ambassador in 2012 and France bestowed the Ordre des Arts et des Lettres on him in 2024. Welcome back, Joseph Calleja!

Joseph Calleja (tenor) & Sarah Tysman (piano)

Death has many faces. Appearing as comforter, seducer, sadist. It shines in the dark and hides in the light.

Aribert Reimann’s L’invisible turned three Maeterlinck plays into a poetic meditation on the power of death: L’intruse shows a mother, struggling to survive childbirth. While most of her relatives fail to grasp the seriousness of the situation, her blind grandfather’s the only one to register the arrival of an invisible stranger. Intérieur starts with a young woman’s suicide. Two men, expected to break the news to her family, wonder whether it wouldn’t be kinder to hide the bitter truth. La mort de Tintagiles harks back to a dismal fairy tale: an old Queen lures her grandson Tintagiles back to her kingdom, to murder him. He puts up a fight, helped by his sisters, but vanishes without trace in his grandmother’s mysterious castle.

L’invisible

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