Max Bilbe

Ann-Christine Mecke

Jean Renshaw

Sophia Debus

Mario Waldowski

Lower Saxony State Orchestra Hanover

Staatstheater Hannover

Every Saturday morning, we open our foyer to the curious: Come in, take a look around! Enjoy our catering, Wi-Fi, and children's corner, or simply relax. Watch the ongoing rehearsal and meet the State Opera and its staff!
We enrich Saturday mornings with small concerts, discussions, presentations, and invitations to sing along—but the open foyer will also be what you make of it!

The Open Foyer

The Rosenkavalier

“Crunchy, crunchy crunch, who’s going to crunch my house?”
Hanover's cult production of Hansel and Gretel is back—and here it is! Steffen Tiggeler's work has been on the State Opera's program since 1964, making it the longest-running production of this fairytale play, lovingly composed in Wagnerian style by Engelbert Humperdinck and with a nostalgic libretto by his sister Adelheid Wette.
Hansel and Gretel, the children of a broom-making couple, live in dire poverty. There's hardly any food on the table at home. So, while their father senses trouble, their mother sends them into the forest to gather berries. Hansel and Gretel get lost and fall into the clutches of the evil gingerbread witch, who wants to turn them into gingerbread and consume them herself. Gretel manages to outwit the gingerbread witch, who throws them both into the oven. In the happy ending, all the gingerbread children who had previously fallen into the clutches of the witch are freed. Father and mother also find Hansel and Gretel safe and sound.

Hansel and Gretel

“Have you tortured me enough?”
Floria Tosca lives entirely for music and her love for the artist Mario Cavaradossi. When Cavaradossi is sentenced to death for his political activism against an inhumane regime, the singer too is on the brink. The jealous Baron Scarpia tries to blackmail Tosca: If she wants to save her lover from execution, she must give herself to Scarpia. Tosca pretends to accept the deal – and stabs Scarpia. But the path to freedom is deceptive. Scarpia's power extends beyond death.
In hardly any other opera are personal passion and political arbitrariness so closely intertwined and yet so cruelly exposed as in Giacomo Puccini's Tosca from 1900. The relentless reckoning with abuse of power and machinations, coupled with a deeply moving love story, continues to electrify audiences today, with a score that combines gripping drama and nerve-wracking tension with moments of enchanting beauty. Arias like Tosca's "Vissi d'arte" and Cavaradossi's "É lucevan le stelle" are not without reason considered icons of Italian vocal art.

Tosca

"And now, everyone!" — Under the direction of the State Opera Chorus Director Lorenzo da Rio, the (hopefully) fully-seated opera house, accompanied by piano, will sing Advent, winter, and Christmas carols of various origins. Can you share your favorites with us in advance? We're sure one or two ensemble members will drop by with a favorite song.

Advent singing for everyone

A white man in a tailcoat stands at the front of the stage—in the hollow of a large, black Steinway grand piano. The man in the tailcoat supports himself with his right hand. The older people in the audience clear their throats a little. It's cold outside. The piano plays. Repeated chords in D minor, a descending motif, full of worry. "I came as a stranger, I depart as a stranger."
All of this is wonderful and should always remain so! For we all love Franz Schubert's Winterreise —as well as Robert Schumann's Dichterliebe and Hugo Wolf's Italienisches Liederbuch. And it is precisely these cycles that we want to hear in our new series. But also other things. Not "just" necessarily classical-romantic art songs of the 19th century, but what the members of our vocal ensemble bring with them from home, what has shaped them, what they love. From Bulgarian shepherd's songs to Finnish tangos… then back to the starting point, Winterreise. To enhance the diversity of the whole, we meet for each event, each song concert , at a different location in Hanover. You are warmly welcome throughout our city, whose venues we will fill with sound through songs and other vocal compositions.

 Song Concert: Shavleg Armasi

Faust Cultural Center

Beijing, in a fairytale setting: At the imperial court, Princess Turandot has made her own marriage a law: Anyone wishing to marry her must answer three riddles correctly; anyone who fails is executed. When a stranger appears, he decides to take on the challenge. He is the only one who succeeds in solving the riddles and, in turn, gives the princess a task: If Turandot can reveal his name by dawn, he is prepared to renounce her hand and die.
Behind the murderous brutality of Turandot's law and her cold-blooded rejection of all suitors lies a deep transgenerational trauma. These unsolvable tasks serve only as self-protection: An ancestor was brutally abused and murdered by her husband. Jakob Peters-Messer's production examines Puccini's fairytale opera for this deep psychological cause and simultaneously reveals the inherent ambivalence of tragedy and grotesque comedy.

Turandot

"Allow me to introduce myself: My name is Schwartenmagen. Mr. Schwartenmagen. From the Presswurst family. And who are you?"
Lisa and Hagen are baking a birthday cake for their father. Because the refrigerator no longer has everything the recipe calls for, they improvise a bit: orange juice, leeks, and carrots are added to the butter and flour in the mixing bowl. Will the "all-in-all universe cake" taste good? Lisa and Hagen's father will never get to try it, because suddenly the children are confronted with a greedy sausage that lives in their refrigerator, has already stolen eggs and milk, and is becoming increasingly brazen. But the siblings stick together and defend themselves and the family kitchen with ingenuity and a hearty pinch of chili.

Sausage

Ballhof

A white man in a tailcoat stands at the front of the stage—in the hollow of a large, black Steinway grand piano. The man in the tailcoat supports himself with his right hand. The older people in the audience clear their throats a little. It's cold outside. The piano plays. Repeated chords in D minor, a descending motif, full of worry. "I came as a stranger, I depart as a stranger."

 Song Concert: Maximilan Schmitt

Northern Germany's most glamorous party will once again take place at the Hanover State Opera in February 2026: The Opera Ball is a grand show, a festive dance event, lavish decorations, fantastic music, and a lively party—a feast for all the senses! We'll reveal more details in October.

The Opera Ball of the Hanover State Opera

“This is a delicate matter, how will it end?”
Countess, Susanna and Figaro
On the occasion of Figaro and Susanna's wedding, Count Almaviva wants to once again indulge in the long-abolished "right of the first night," setting in motion a machine of confusion, intrigue, and doubt that ultimately leads to the exposure of the Count's abuse of power, but also to the possibility of forgiveness.
Only a composer like Wolfgang Amadeus Mozart could have come up with the downright ludicrous idea of ​​setting Beaumarchais's La folle journée ou Le mariage de Figaro to music in 1786 , the most politically explosive comedy of those years—a portrait of a society in upheaval and a nobility once again exercising their privileges and blindly running towards their own ruin. The very first bars of the overture make it irresistibly clear: in this play, every bar, every syllable, every whisper carries the undertone of nervous excitement. There is a standstill only at the turning points, those precious moments in which Mozart reveals the inner lives of his heroes. But the adventure continues, and only the onset of night can bring this "mad day" to an end.

The Marriage of Figaro

"Not a pretty sight. Modernity begins."
Christa Wolf on Kleist's Penthesilea
A woman and a man, united by a politically senseless war, obsessed with defeating the other: the Amazon Penthesilea and the Greek Achilles. When Heinrich von Kleist transformed this ancient myth into a play in 1808, he reversed the story's gruesome ending: It wasn't Achilles who slays Penthesilea and then falls in love with the dead woman's body, but Penthesilea who falls in love with Achilles, kills him, and mauls his corpse.
Kleist's tragedy irritated his contemporaries: eroticism and aggression appear interchangeable, women fight like men, hunters become prey, and Penthesilea becomes an animal. This was not how Kleist's contemporaries imagined either antiquity or the theater. It didn't help that the most gruesome scenes weren't shown on stage, but merely reported: Penthesilea was never performed during the author's lifetime. It wasn't until the second half of the 20th century that this idiosyncratic work garnered interest and understanding.