Name: Salome
Start: 2025-06-18T19:30:00
Location: Staatsoper Hamburg

Staatsoper Hamburg presents a captivating lineup of performances, showcasing a blend of traditional operas and innovative productions over the coming months. Highlights include the dramatic 'Tosca,' the interactive 'Tonangeber,' and Mozart's youthful masterpiece 'Mitridate, re di Ponto.' Each event promises to offer unique experiences, from grand historical dramas to modern explorations of human psychology, all set to awe-inspiring music. Dive into the rich tapestry of art and emotion presented by world-renowned artists in one of Germany's most esteemed opera houses.

Exploring the Diverse World of Opera at Staatsoper Hamburg

This season, the Hamburg State Opera is set to captivate audiences with an extraordinary lineup of events that span the spectrum of musical and theatrical brilliance. From the interactive and educational 'Tonangeber' to the emotionally charged 'Mitridate, re di Ponto', each production offers a unique experience. The revival of Wagner's 'Tristan und Isolde' and Strauss's 'Salome' promise to delve into the depths of human emotion, while 'Die verlorene Melodie' and 'Frühlings Erwachen' bring fresh narratives to the stage. Witness the interplay of tradition and innovation in Mozart's timeless operas 'Così fan tutte' and 'Le Nozze di Figaro'.

A Symphony of Events: Hamburg State Opera's Unforgettable Season

Christopher Maltman

Kyle Ketelsen

Asmik Grigorian

Peter Hoare

Keith Klein

Colin Aikins

Alexander Soddy

William Desbiens

Vida Miknevičiūtė

Clare Presland

Oleksiy Palchykov

Peter Lobert

Aebh Kelly

James Kryshak

Hubert Kowalczyk

Claudia Mahnke

Florian Panzieri

Daniel Kluge

Aaron Godfrey-Mayes

Nicholas Mogg

Jürgen Sacher

David Minseok Kang

Liam James Karai

Karl Hummel

Doris Soffel

Wolfgang Ablinger-Sperrhacke

Omer Meir Wellber

Mziwamadoda  Sipho Nodlayiya

Gleb Filshtinsky

Elena Zaytseva

Staatsoper Hamburg

Scarpia, Rome’s chief of police, desires Tosca. Since her lover, the painter Cavaradossi, is among the government’s political enemies, Scarpia has him imprisoned. He orders Cavaradossi’s execution and hopes to force Tosca into granting him one night with her, in exchange for Cavaradossi’s release. She, however, thwarts his plans…

Tosca

This opera is the world in a theatrical nutshell: it deals with growing older, with trials and tribulations, with intransparent decisions. One person searches for individuality, another is too lazy to do so. Others postulate that the community is the only adequate place for the individual. Power has either been legitimised by long tradition or usurped by new regimes. Values such as assimilation and loyalty are set against self-assertiveness and independence. There is loving and dreaming, cheating and trusting. Suicides are prevented, tests passed, adventures survived. Who is right? Who has been wronged? The world of the magic flute is opaque, and everyone is looking for a pathway: within it, into it or out of it. Who holds the reigns? Who can be trusted? Could it be music?

Die Zauberflöte (The Magic Flute)

The Hamburg Ballet opens the doors of the Ballet Center Hamburg – John Neumeier, so you can take the leap into the world of dance. Experience simple warm-up exercises and enjoy the beauty of dancing. We look forward to seeing you in the ballet studio!

Dance for me

Ballettzentrum Hamburg – John Neumeier

A REDISCOVERY - NATIONAL EPIC OR FAIRYTALE OPERA ABOUT THE FIGHT AGAINST EVIL?

Who is good and who is evil in this fairytale opera - and why? The nucleus of Pushkin's setting of Ruslan and Lyudmila by Mikhail Glinka is the abduction of the princess's daughter Lyudmila from Kiev, the center of both the Russian and Ukrainian founding myths. For Ruslan, the warrior promised to her, this marks the beginning of an adventurous journey through the magical realm of a powerful dwarf. The rescue operation escalates into a showdown between the men fighting for Lyudmila. But she herself increasingly becomes a distant vision of love - the longed-for prize for heroism. In 1842, in the midst of the awakening Russian national sentiment, Glinka conceived the idea of a culturally united tsarist empire, in which he merged Slavic, Finnish and Arabic melos with the bel canto fashion of his time.

Ruslan und Ljudmila

Hamburg State Opera

“Don‘t you know the horrible dark place, don’t you know the evil one lives there?” Hastily, their parents set out for the woods to save Hansel and Gretel from the witch Rosina Leckermaul. As they feared, the children have got lost in the woods and found the gingerbread house. They cannot resist the sweet temptation – and fall straight into the trap of the witch, who likes children so much she could eat them up… literally.
As in most tales of the Brothers Grimm, in Engelbert Humperdinck’s setting of the fairytale all ends well: until that point, however, Humperdinck’s romantic music accompanies the children deep into the dark forest of legend. Here it invokes magical beings, calls on 14 angels to protect the siblings and allows the witch to ride her broomstick through the air.

Hansel and Gretel

The programm for the first premiere of the season will be announced shortly.

N.N.

Tristano e Isotta – Tristan and Isolde set an example: Nemorino has the evident idea to boost the feelings of his beloved Adina with a love potion. The charlatan Dulcamara sees his chance for a good deal and sells a bottle of the pretended potion to the unhappy lover...

The Elixir of Love

It has become a tradition for ballet companies all over the world to perform Tchaikovsky's "Nutcracker" at Christmas time. John Neumeier's version of "The Nutcracker", however, avoids direct reference to Christmas. In his ballet, the central character Marie celebrates her twelfth birthday and is drawn by the mysterious ballet master Drosselmeier into the fascinating world of dance. It is, in fact, a ballet about ballet itself.

The Nutcracker

At the New Year's Eve concert, the Hamburg Philharmonic State Orchestra and its General Music Director Omer Meir Wellber will present a bizarre and dazzling mixture of virtuoso vocal artistry, imaginative tonal language and humorous expressiveness. More is not yet revealed, except: „Psst! Pspsst! Pspspsst! Schscht! Ko! Koko! Kokokoko! Kokoko! Kokode zero! Oh! Kococode Zero Zero: höchste Geheimnisstufe! Zero, Zero! Kommen Störche! Dabeljusi! Krokodil groß! Menge, Menge, Menge! [Kaiserschmarrn!] Vo-vo-vo-volksmenge!“

New Year's Eve concert

Elbphilharmonie

Violetta is the most sought-after courtesan of the Parisian demimonde. However, her encounter with Alfredo makes her pleasure-seeking life seem questionable: they fall in love and try to build a life for themselves, far from the fast pleasures of the city...

La Traviata

The soundscapes of the Hamburg Philharmonic State Orchestra's chamber concerts are as diverse as the characters of the musicians who perform in them. The demands in the orchestra pit are often characterized by the size and diversity of the voices. Chamber music, on the other hand, reduces this dimension to smaller ensembles and allows for intimate musical interaction. As in a dialog, different opinions come together, new ideas emerge and develop during the performance, opening up a creative space for spontaneous development.

3rd Chamber Concert

Senta's dreams are directed towards the sea: will the man who will free her from her restricted life at home come from there? It begins stormily; Wagner's first fully valid opera presents a grandiose, overwhelming vision of the elements already in the overture. The fate of the Flying Dutchman and the woman who is to redeem him takes place in the roar of the waves and the ocean. This "romantic opera" aims to transcend boundaries.

The Flying Dutchma

Under the face of the wandering moon, spirit and body quarrel in all their greatness and wretchedness until the blood of two bodies flows. Strauss remains close to Wilde's re-creation of the biblical material, which leads Salome from her mother's tool to autonomy. It is she who, in her unfulfilled desire for the liberatingly different, the body of the prophet Jochanaan, seeks revenge and demands his head - a price the male-dominated society around Herod is willing to pay for their dance. Now that Salome holds his severed head in her hands, she can kiss Jochanaan, possess him if not alive, then dead. As if under a burning glass, Strauss pours Oscar Wilde's demonic dramaturgy into sound like an eruption of the psyche, accompanying his protagonist from her failed escape from the decadence of her existence to her death.

Salome

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