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Bayerische Staatsoper

München, Germany

Featured events

Nov 24, 2024 - Jun 3, 2025

Tour of the Bayerisches Staatsorchester

Nov 29, 2024 - Jul 11, 2025

La Sylphide

Nov 30, 2024 - Jul 4, 2025

Aria evening of the opera studio

Events

Upcoming events

Nov 24, 2024 - Jun 3, 2025

Tour of the Bayerisches Staatsorchester

Tageskasse der Bayerischen Staatsoper

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2 - 11 May, 2025

Das Jagdgewehr

Munich · Munich Residence

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3 - 11 May, 2025

Matsukaze

Utopia

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Nov 30, 2024 - Jul 4, 2025

Aria evening of the opera studio

· Aschaffenburg + 3 other locations

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May 22 - Jul 12, 2025

Cavalleria Rusticana / Pagliacci

Munich · Max-Joseph-Platz

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Past events

Mar 17 - Jul 7, 2025

Káťa Kabanová

Munich · Max-Joseph-Platz

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Feb 7 - Jul 25, 2025

The Love of Danae

Munich · Max-Joseph-Platz

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Featured performers and creators

Pretty Yende

Singer

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Sean Panikkar

Singer

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Verity Wingate

Singer

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Timo Riihonen

Singer

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Daniele Rustioni

Conductor

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Articles & News

Exploring the Artistic Wonders of Bayerische Staatsoper's Upcoming Season

Opera

Ballet & Dance

Exploring the Bayerische Staatsoper: A Journey Through Artful Performances

Ballet & Dance

Opera

Unveiling the Artistry at Bayerische Staatsoper: A Journey Through Events and Performances

Ballet & Dance

Opera

Unveiling the Bayerische Staatsoper's 2024-2025 Season: A Journey Through History, Innovation, and Emotion

Ballet & Dance

Opera

Exploring the Heart of Opera and Ballet: Bayerische Staatsoper's 2024-2025 Lineup

Ballet & Dance

Opera

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Bayerische Staatsoper

München, Germany

2025 Artelize••

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A poet has published a poem about a lonesome hunter, who he recently saw in the mountains. Josuke Misugi, who has recognised himself as the mountain hunter, subsequently contacts him. He sends the poet three letters, in which three women that are important for him tell of the long relationship he had with his sister-in-law, Saiko. A relationship of which nobody but they knew, or at least they thought so. Now we learn, however, that his wife Midori has long since known, and in her letter tells of the consequences. In her farewell letter, Saiko herself struggles with her long years of guilty conscience. And Shoko, Saiko’s daughter, also never wants to see her uncle again, as she has learnt of their secret from her mother’s diary. A man between two women – five views of the same facts. Yasushi Inoue’s 1949 novel could be set anywhere, and at any time. Modern people plot against each other, four lives turn out to be lies. At the end, one person is dead, and a successful businessman has become a lonely hunter in the mountains. For this chamber opera, which celebrated its world premiere at the Bregenz Festival in 2018, Austrian composer Thomas Larcher has been developing his sounds from the germ cells of music – a rhythm, an interval, a scale and singing, sometimes almost entirely silent, sometimes exploring the limits of the human voice.

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The somnambulistic piece Matsukaze, a reworking of theJapanese Nō theatre material of the Master Zeami from the 15th century, recounts the unhappy love of two sisters, the salt water maidens, Matsukaze and Murasame, for the courtier, Yukihira. When he must leave one day, he promises them he will return, for his longing will call him back. But, he dies. The two sisters are left imprisoned by their yearning, become ghosts, return to the living again and again. Only a monk can help them out of their entrapment. Hosokawa’s composition transforms nature moods into tender, loving sounds, plays with silence, traces the passage of time and non-passage of intimate feelings, madness, the relationship between past, present and future, between the fundamental connection of human existence and nature. The world premiere was celebrated in 2011 at the Opéra La Monnaie in Brussels. For the Bayerische Staatsoper production, the director duo Lotte van den Berg and Tobias Staab will now collaborate for the first time with the visual, internationally active artist, Alicja Kwade.

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“The artist is a man, and he must write for men. … and you will see true hatred and its bitter fruit.” In the Pagliacci prologue, Tonio tells us what this opera is about – it seeks to put the reality of life on the stage. This applies for both works, which will now enjoy their first new staging at the Bayerische Staatsoper in 46 years (1978). Together Cavalleria rusticana by Pietro Mascagni and Pagliacci by Ruggero Leoncavallo simply exemplify verismo. The basic situation: A woman is unfaithful. Another reveals this to the husband, and he, spurred on by this woman, takes bloody revenge on the lover. Cavalleria rusticana is about Turiddu, who returns to find his old flame Lola again, but she is now married to the carter, Alfio. Turiddu then consoles himself by seducing Santuzza. But the old love is reignited, and Lola betrays her husband, and Turiddu his girlfriend. In Pagliacci, the plot revolves around Nedda and her husband Canio, the leader of a group of comedians. Nedda’s love for him has grown cold, so she turns to the farmer, Silvio.

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In Leoš Janáček’s opera, Kát’a Kabanová, the eponymous heroine is ensnared at the heart of an ominous mesh of relations. Her domineering mother-in-law, Kabanicha, oppresses and controls her son Tichon, whose marriage to Kát’a suffers massively from heteronomy. Because Kát’a finds no fulfilment in this family, she flees and fulfils her unsatisfied erotic desires in an affair with Boris. As composer and librettist, Janáček bundles the plot of the literary template, Alexander N. Ostrovsky’s drama, The Storm. The libretto largely dispenses with the portrayal of the external social circumstances, from whence Kát’a’s essence and choices are decisively determined. Instead, Janáček traces the development of the title character in a psychological-sensitive musical language. Kát’a’s feelings of guilt increase continuously until they discharge into a public confession as an emotional storm. The turbulent and in places fanciful music opens the space for passages of lyrical grace and allows us to experience the essence of the characters. In Kát’a, director Krzysztof Warlikowski sees an outsider, who is denied a life in harmony with her desires, and at the end prefers death over lies. The destructive power of religion behind it all is not only found in a small Russian town on the banks of the Volga in the 1860s, where the libretto places the plot, but rather can also be seen everywhere all over the world.