Name: Turandot
Start: 2026-07-18T19:00:00
Location: Stuttgart Opera

The Staatsoper Stuttgart invites audiences to a stellar season featuring captivating operas and innovative productions. From the enchanting melodies of 'The Magic Flute' to the dramatic storytelling of 'Turandot,' this season showcases timeless masterpieces and contemporary interpretations. Highlights include the coming-of-age journey in Mozart's 'The Magic Flute,' the exploration of societal values in Wagner's 'The Mastersingers of Nuremberg,' and the intense psychological drama of Bizet's 'Carmen.' Join us as we delve into these operatic experiences that promise to captivate and inspire.

Exploring Stuttgart's Operatic Splendor: A Season of Artistic Triumphs

Valerio Galli

Dylan Gregg

Joseph Tancredi

Adam Palka

Esther Dierkes

Alberto Robert

Ewa Vesin

Ivan Gyngazov

Shigeo Ishino

Heinz Göhrig

Anna-Sophie Mahler

Ivan Estregneev

Valentin Däumler

Pascale Martin

Katrin Connan

Staatsoper Stuttgart

“Al’alba vincerò - at sunrise I will win“, the unknown prince bawls out to the city, making him one of the few heroes of Italian opera whose arioso sleeplessness is due to confidence rather than despair. The others have to despair instead. Primarily the inhabitants of the city, in which – “nessun dorma“ – no one is allowed to sleep because everyone has to search for the name of the unknown man on the highest orders and under threat of the death penalty. That Turandot should actually end well by Puccini’s standards can be felt – like so much else – in the central tenor aria of the work. Puccini knew better than anyone how to force an emotional involvement on the audience through the merciless immediacy of his musical language. The piece itself ends happily, albeit without Puccini, who had to lay down his arms in his battle against laryngeal cancer before the finale was finished. And so Turandot joins the ranks of the great opera fragments of the 20th century. But not only is the piece more or less a chimera, the title character herself also seems to be primarily a projection: “Turandot does not exist! Only nothingness exists“, Ping, Pang and Pong warn the unknown prince to prevent him from attempting the three riddles that need to be solved in order to win the emperor’s daughter Turandot. Anna Sophie Mahler, whose Stuttgart production of Saint François d’Assise 2023 was named the “most unusual opera experience of the year“ by the journal Opernwelt, will set out 100 years after the premiere of Puccini’s enigmatic last opera in search of the “fluid of love“ with which the composer wanted to pacify nerves stretched to the limit in the opera’s finale. Because, this much is certain: this fluidum would also be useful today.

Turandot

Stuttgart Opera

In his opera Rossini brought together a string of well-known “commedia dll’arte” characters of which he formed an irresistible comedy – full of intrigue and charade: the mercenary guardian Doctor Bartolo and his conniving henchman Basilio, his wealthy charge Rosina and her secret lover Lindoro (alias Count Almaviva) and finally the barber Figaro himself, who assists the young couple in the pursuit of their love against all odds. The opera’s world premiere in 1816 was accompanied by boos and catcalls – only to get firmly established in the world of opera shortly after. Rossini’s work by now has developed into one of the most popular and most frequently played operas world-wide.

Il barbiere di Siviglia

The Littmann Sessions are entering their third round – again with regional pop acts on stage of the opera house! In cooperation with the Pop-Büro, the JOiN-Haus, our joint project with the Schmetterlingshaus, and the Stadtgesellschaft, we are once again filling the opera house with exciting new sounds.

The Littmann-Sessions: a pop gala

Despite her 127 years, the little witch is still very young by witch standards. And she is also still in her infancy when it comes to witch training: She’s only on page 213 in the big witch book! So it’s no wonder that the “real“ witches don’t invite the little witch to Walpurgis Night. But she would love to! Not only to dance on the Blocksberg, but also to be a really good witch. But that’s where the problem lies: the little witch doesn’t think of a good witch as a witch who hexes well, but above all one who hexes good things. And it’s not just the weather witch Rumpumpel who sees things completely differently ... Otfried Preußler’s wonderful stories about the adventures of the little witch, who becomes a real and good witch, are told as a pre-stage play in the opera house. With lots of music and, of course, with the talking raven Abraxas: “Heia Walpurgisnacht!“

Turandot

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