Name: La Cenerentola
Start: 2026-05-22T19:00:00
Location: Stuttgart Opera

As the curtain rises at Staatsoper Stuttgart, a captivating lineup of events sets the stage for an unforgettable opera season. From the seductive escapades of Don Giovanni to the enchanting adventures in The Magic Flute, and the deeply introspective Dialogues des Carmélites, this season promises a rich tapestry of storytelling. With an ensemble of talented performers and visionary directors, each opera offers a unique lens into timeless tales, inviting audiences to explore themes of love, identity, and cultural memory.

A Symphony of Storytelling: The Diverse Opera Season at Staatsoper Stuttgart

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

Jasper Leever

Luiza Willert

Alberto Robert

Johannes Kammler

Giulio Mastrototaro

Itzeli del Rosario

Maria  Theresa Ullrich

Levente Török

Andrea Moses

Reinhard Traub

Werner Pick

Staatsoper Stuttgart

A coming of age story and a story of love: The Queen of the Night persuades Prince Tamino to rescue her daughter Pamina from captivity under the high priest Sarastro. Tamino, who instantly falls in love with Pamina, is ready to set off. Involuntarily, bird catcher Papageno is also sent along with Tamino – as companion to the prince. After various trials of initiation, courage and perseverance Tamino and Papageno not only find their station in life as adults, but also each the woman to their hearts’ content: Tamino gains the hand of Pamina and Papageno lives happily ever after with his Papagena. We show the legendary Magic Flute of the Komische Oper Berlin, which director Barrie Kosky staged with the theater video art collective "1927" in an astonishing video animation world for the whole family.

The Magic Flute

Stuttgart Opera

“Exuberant, loud and over-the-top: it’s showtime in the orchestra pit“, as one journalist put it after the premiere in December 2024. And the stage design and costumes continue the theme – albeit with slightly ironic opulence. Casanova is the title of a revue operetta by composers Johann Strauss and Ralph Benatzky. Eric Charell, the “revue king“ of his time, staged the world premiere at Großes Schauspielhaus in Berlin in 1928. However, the real hero of the Stuttgart production is not so much Casanova himself, but the character of Barberina, who is embodied on stage by two different artists. She takes over the show and leads us through an evening which centers also on female desire and the lustful play with identities and images of masculinity, femininity and the in-between.

Casanova

“I don’t believe in the right to work; I prefer to believe that the greatest right of man is to do nothing,“ said Rossini. Angelina, his Cinderella, is far from that – she performs slave labour in her bankrupt stepfather’s family. How a prince, for whom the bank account and an army of servants work, gets her out of this precarious situation is a world-famous fairy tale from Charles Perrault to Disney. Rossini tells the story of the power of honest feelings to survive without the well-known miraculous elements, but there is one great miracle: love at first sight. Not at the ball, but when the prince, as a servant, inspects the potential brides in advance. Surrounding this is the madness of exalted dreams of ascent and terrible scenarios of descent, which drives Rossini’s characters forward just as much as the insane energy of his music. The young mezzo-soprano Itzeli del Rosario, who is a member of the Stuttgart ensemble since this season, makes her debut in the title role of Cinderella.

La Cenerentola

Which sounds evoke feelings of home in us? What music do we associate with the places where we have lived our lives? Can a rummaged-out LP sleeve, a cassette box, an aging CD bring memories to life across countries and generations? With questions like these in mind, Croatian composer Sara Glojnarić started a “sound archive of the future“ two years ago as a collection of material for her compositions. In personal conversations and listening sessions with people who have settled in the Stuttgart area since the 1950s, she has since uncovered long-forgotten memories and created an intergenerational songbook of the city: “I want to start where the history books stop – to tell the story in all its splendor, humor and realness. From the perspective of an insider who understands this very special feeling of an emotional balancing act between what we call home and where we are now.“ In a team with Bosnian writer Tanja Šljivar and director Anika Rutkofsky, Glojnarić weaves these immigration stories full of nostalgia and dreams, tragedy and comedy, rituals and linguistic diversity into a poetic-surreal mixtape opera. Together, they take us on a kind of road trip along the former Europastraße 5, a nightly transit route that forms a bridge between the cultural identities of Germany and south-eastern Europe and at the same time symbolizes the longing for belonging. An opera about the timeless utopian power of music as cultural memory. An opera about Stuttgart and from Stuttgart, composed for the state orchestra and ensemble of the Staatsoper Stuttgart, including Goran Jurić and Diana Haller, whose personal musical memories of the journey to Stuttgart will be experienced on stage as flashbacks.

Station Paradiso

“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

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!“

La Cenerentola

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