Name: The Marriage Of Figaro
Start: 2026-05-24T18:00:00
Location: Max-Joseph-Platz

Bayerische Staatsoper is setting the stage for an exhilarating roster of artistic performances that promise to captivate audiences in the coming seasons. From the timeless charm of operatic tales to the innovative brilliance of ballet, each event is a testament to the exceptional artistry and dedication of performers. Highlights include the thrilling drama of 'The Marriage of Figaro,' the dynamic energies in 'Waves and Circles,' and the emotional depth of 'Madama Butterfly.' Let's delve into the diverse offerings that await art enthusiasts at this iconic cultural venue.

Exploring Artistry at Bayerische Staatsoper: A Glimpse into Upcoming Performances

The Bayerische Staatsoper is all set to enthrall audiences with a captivating array of performances, ranging from timeless operas to innovative ballets. This season, expect to be taken on a journey through themes of power, seduction, redemption, and artistic exploration. With productions like The Marriage of Figaro, Faust, and the compelling Waves and Circles ballet series, this is an enthralling blend of the classical and the contemporary. Join us as we delve into the highlights, notable performers, and the enduring impact of these creative works.

Bayerische Staatsoper's Vibrant Line-Up: A Rich Tapestry of Operas and Ballets

Kate Lindsey

Martin Snell

Roman Chabaranok

Brenton Ryan

Gerald Finley

Dorothea Röschmann

Joélle Harvey

Avery Amereau

Diana Damrau

Lucy Joy Altus

Louise Alder

Konstantin Krimmel

Julia Kleiter

Riccardo Fassi

Patrick Hahn

Erwin Schrott

Louise McClelland

Madeline Judge

Tansel Akzeybek

Nontobeko Bhengu

Iana Aivazian

Juliane Banse

Kevin Conners

Kyunghee Yang

Lena Elisabeth Vogler

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

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

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

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

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

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