Name: La Sylphide
Start: 2025-07-11T19:30:00
Location: Max-Joseph-Platz

The Bayerische Staatsoper is set to enthrall audiences with a captivating array of events, blending the rich tapestry of musical and theatrical art forms. From orchestral tours to rare operatic performances, and from romantic ballets to insightful tours and discussions, this season promises an enriching experience for all art enthusiasts. Highlights include the mesmerizing 'Lady Magnesia', the classic ballet 'La Sylphide', and the heart-wrenching 'Káťa Kabanová'. Dive into a world of artistic excellence and cultural heritage as the Bayerische Staatsoper unveils its meticulously curated lineup.

Exploring the Artistic Wonders of Bayerische Staatsoper's Upcoming Season

Dive into the rich tapestry of events hosted by the Bayerische Staatsoper, where city exploration meets musical brilliance. From ballet classics to insightful opera tours, each event offers a unique glimpse into the vibrant world of performing arts. Join us as we explore the prominent events and artists that shape this cultural odyssey, offering fresh perspectives on art and history.

Exploring the Bayerische Staatsoper: A Journey Through Artful Performances

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

The Bayerische Staatsoper is set to captivate audiences with its rich tapestry of performances during the 2024-2025 season. From the ethereal ballet of 'La Sylphide' to the dramatic operatic tales in 'La Fille du régiment' and the classic 'Don Giovanni,' the season promises to be a memorable journey through music and dance. Featuring works from renowned composers and remarkable performances by talented artists, each event provides a unique exploration of cultural and artistic themes, promising unforgettable experiences for all attendees.

The Vibrant Symphony of Bayerische Staatsoper's 2024-2025 Season

Munich's prestigious Bayerische Staatsoper is set to host an array of captivating performances that celebrate the rich tapestry of classical music and opera. From ballet classics like 'La Sylphide' to the operatic marvels of 'La Fille du régiment', the upcoming seasons promise an unforgettable journey through the world of music and dance. Each event, featuring notable artists and innovative interpretations, will be staged at some of Munich's most iconic venues. For enthusiasts and newcomers alike, these performances offer a unique opportunity to experience the timeless beauty of classical art forms.

A Gala of Classics: Unveiling Bayerische Staatsoper's Upcoming Performances

Myron Romanul

Margarita Fernandes

António Casalinho

Zhanna Gubanova

Sergio Navarro

Severin Brunhuber

Séverine Ferrolier

Lizi Avsajanishvili

Ariel Merkuri

Christian Kass

Eugène Lami

Pierre Ciceri

Bayerische Staatsoper

Count Almaviva has himself abolished the iusprimae noctis, or "right of the lord". A fact, however, which does not prevent him from trying to seduce the Countess’s maid, Susanna, just before her marriage to Figaro. A clear case of sexual harassment. But, what happens when the culprit has plenty of money and power? Or, can even bend the law to suit their wishes? Le nozze di Figaro was more than just a comedy back in Mozart’s day. The world portrayed is brim full of criminal machinations and blatant fraud and chicanery by the powerful and almighty. Lorenzo Da Ponte’s libretto based on the scandalous play by the French revolutionary, Beaumarchais, leads the colourful characters of a comedy of the classes into situations so hopeless that emptiness and the desire to die spread to all quarters. And so the Count’s love for his new wife following their marriage suddenly goes ice-cold, although he has just recently spectacularly freed her from the clutches of her custodian. The resourceful Figaro of all people had helped him here, and in gratitude, the Count now employs him as his personal valet, perhaps as questionable compensation for Susanna’s harassment. Hardly conquered, the countess finds herself neglected and longs for either Almaviva's love or her own death. It takes a great deal of intrigue and counter-intrigue to disempower the encroaching count and allow Susanna's wedding to her beloved Figaro to take place after all.

The Marriage Of Figaro

Max-Joseph-Platz

Munich Residence

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

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

In honeyed tones, Lord and Lady Macbeth reveal their passionate and bizarre emotions to us. But behind this beauty there lurks an abyss, which Verdi unveils with one of the cruelest dramas in the history of world literature. In their struggle to seize power and retain it once it has been usurped, Macbeth and his lady commit one murder after another. The unwavering nature of their desire imbues their love with a radicality that would have been unthinkable on the operatic stage before this work. “The subject matter of this opera is neither political nor religious: it is fantastic,” wrote Verdi and brought Shakespeare’s play closer to a more “romantic” reading. In actual fact, the witches, ghosts and apparitions, the eerie elements, which dominate the musical and dramatic flow, in short the whole world of this opera can be regarded as an outward image of its protagonists’ inner state.

Macbeth

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 4

Artist House

Variety is a scarce commodity in the glum little village depicted by Gaetano Donizetti and his librettist Felice Romani – the only prospects beyond the stifling confines of this backwater seem to be the illusion of a hero’s life as a soldier, even if it might lead to an untimely death.

L’elisir D’amore

"If you travel to India and to Central Africa, you'll hear Trovatore.“ Nine years after the triumphant first performance, Verdi's opera had achieved the worldwide popularity that moved the composer to make this comment. The fabric of the opera could hardly be more gloomy: a gypsy who wishes to avenge the death of her mother at the stake, a count who wishes to use the execution of this gypsy to strike at his rival; a horrifying truth that is revealed at the moment of death. All the ingredients of Verdi's dramatic abundance appear here: mysterious sound worlds, harsh contrasts, vocal brilliance, opulent tableaux. The cohesive narrative style gives way to the variation of suggestive musical images with which Verdi served "the most important part of the drama“: revenge.

Il Trovatore

Portrait Concert 5

The two closely related powerful women, whose graves now lie right beside each other in London’s Westminster Abbey, were “Of One Blood”, so of the same blood. Both were of course as conceivably far apart as possible during their lives. Elizabeth I ruled for almost half a century as Queen of England and Ireland, while Mary Stuart reigned over Scotland for a quarter of a century. A bitter power struggle between the Protestant hegemony and the Catholic opposition and ultimately the pressure of parliament forced the English Queen to have Mary Stuart executed.

Of One Blood

A grand decorative opera on the one hand: ancient saga! War between Rome and Gaul, but Norma is also a psychologically fine-grained chamber play about a highly complex woman in the throes of terrible conflicts: Norma, high priestess of the Druids and mistress of the Roman proconsul Pollione. When she is betrayed, this "Casta Diva", this "chaste goddess" is determined to take revenge. It all ends terribly: a love-death burning at the stake! The madness, ecstasy and beauty of total bel canto!

NORMA

La Sylphide is considered the romantic ballet classic par excellence. This two-act work by Filippo Taglioni, in which the dancers embodied the illusion of weightlessness as aerial spirits, not only marked the breakthrough of pointe dance in the 1830s; together with the white tutus of the ghostly creatures, an image of this art form was created that still symbolises classical dance today. In 1972, Pierre Lacotte, who died in 2023, staged his reconstruction of the work at the Paris Opera. In order to come as close as possible to the traditional Romantic ideals and the style of Filippo Taglioni, Lacotte studied historical images and records intensively. Lacotte's version differs from August Bournonville's version, in that it is characterised by a movement language influenced by the French school. In addition, Lacotte's version is musically based on the original score by Jean-Madeleine Schneitzhoeffer.

La Sylphide

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