“Mozart’s most popular opera is a deeply humane story of adventure with heavenly music.”
DIE ZAUBERFLÖTE
An opera in two acts, with one intermission
Libretto by Emanuel Schikaneder
Performed in German with German and English subtitles
James as Tamino
“Mozart’s most popular opera is a deeply humane story of adventure with heavenly music.”
DIE ZAUBERFLÖTE
An opera in two acts, with one intermission
Libretto by Emanuel Schikaneder
Performed in German with German and English subtitles
James as Tamino
“Mozart’s most popular opera is a deeply humane story of adventure with heavenly music.”
DIE ZAUBERFLÖTE
An opera in two acts, with one intermission
Libretto by Emanuel Schikaneder
Performed in German with German and English subtitles
James as Tamino
Starten Sie die Spielzeit mit einem besonderen musikalischen Streifzug: Intendantin Nora Schmid führt zusammen mit Sänger*innen des Ensembles durch die Höhepunkte der Saison. Das Semperoper Ballett sorgt für tänzerische Highlights, während der Sächsischer Staatsopernchor Dresden und die Sächsische Staatskapelle Dresden unter Johannes Wulff-Woesten die Semperoper in klingendes Leben taucht. Ein Abend voller Lieblingsmomente aus dem Repertoire und ein Vorgeschmack auf die Premieren erwartet Sie.
Albert Lortzing (1801–1851)
Ouvertüre zur Oper Der Wildschütz
Sächsische Staatskapelle Dresden
Ruggero Leoncavallo (1857–1919)
Arie des Tonio (Prolog) „Si può? ... Si può? ...“ aus der Oper Pagliacci
Neven Crnić
Giuseppe Verdi (1813–1901)
Arie des Oskar „Saper vorreste“ aus der Oper Un ballo in maschera
Rosalia Cid
Franz Lehár (1870–1948)
Duett mit Rezitativ von Valencienne und Camille de Rosillon
„Wie eine Rosenknospe“ – „Sieh dort den kleinen Pavillon“ aus der Operette Die lustige Witwe
Magdalena Lucjan, Mario Lerchenberger
Ferdinando Paër (1771–1839)
Arie der Leonora „Fiero aquilon furente“ aus der Oper Leonora
Louise McClelland Jacobsen
Ludwig van Beethoven (1770–1827)
Chor der Gefangenen „O welche Lust“ aus der Oper Fidelio
Sächsischer Staatsopernchor Dresden, Sächsische Staatskapelle Dresden
Bohuslav Martinů (1890–1959)
Duett von Katerina und Yannakos „I’m son of the light“ aus der Oper The Greek Passion
Marjukka Tepponen, Mario Lerchenberger
Richard Wagner (1813–1883)
Gebet des Rienzi „Allmächt’ger Vater, blick herab“ aus der Oper Rienzi
James Ley
Richard Strauss (1864–1949)
Walzerfolge aus Der Rosenkavalier (Bearb. von Otto Singer)
Sächsische Staatskapelle Dresden
Wolfgang Amadeus Mozart (1756–1791)
Sextett von Donna Anna, Donna Elvira, Zerlina, Don Ottavio, Leporello und Masetto „Sola, sola in buio loco“ aus der Oper Don Giovanni
Louise McClelland Jacobsen, Marjukka Tepponen, Valerie Eickhoff,
James Ley, Vladyslav Buialskyi, Metehan Köklü
Pjotr I. Tschaikowsky (1840–1893)
Der Spiegel-Pas de deux aus dem Ballett Onegin (Musik eingerichtet und instrumentiert von Kurt-Heinz Stolze)
Semperoper Ballett, Sächsische Staatskapelle Dresden
Sergej Prokofjews (1891–1953)
Cinderellas Walzer und „Mitternachtsszene“ aus dem Ballett Cinderella
Semperoper Ballett, Sächsische Staatskapelle Dresden
Pietro Mascagni (1863–1945)
Szene und Gebet des Chores „Regina coeli laetare“ aus der Oper Cavalleria rusticana
Sächsischer Staatsopernchor Dresden, Sächsische Staatskapelle Dresden
“Mozart’s most popular opera is a deeply humane story of adventure with heavenly music.”
DIE ZAUBERFLÖTE
An opera in two acts, with one intermission
Libretto by Emanuel Schikaneder
Performed in German with German and English subtitles
James as Tamino
My Wagner Debut :) …. Steuermann
Romantic opera in three acts
Libretto by Richard Wagner
A terrible curse hangs over him: the infamous seaman known as “the flying Dutchman” can only go ashore every seven years to try to find a wife who, if she is true to him, will release him from his ordeal. If he fails, he is condemned to roam the oceans of the world. Senta, daughter of the sea captain Daland, knows of the Dutchman’s fate and feels that it is her destiny to save him through her love. But can her obsession with this phantom survive when she is faced with the reality? In his opera, included in the canon of “works fit for Bayreuth” in 1901, Richard Wagner portrays a man who despairs of life and society. Although composed in 1841 in Paris, the work did not appear until two years later in Dresden. In his production, director Philipp Stölzl questions the opera’s attitude towards women and follows the plot solely from Senta’s perspective – who is “sold” by her father and expected to give herself up entirely for another man.
In German with German and English surtitles
Introduction to the work 30 minutes before curtain-up
A co-production with the Staatsoper Unter den Linden Berlin
Original production by Theater Basel
Unreserved seating at the introductory matinee
https://www.theater-wien.at/en/events/cast/Cast/team10489/15389/?curr=en/events/season2026-27/1644/Der-fliegende-Hollaender
My Wagner Debut :) …. Steuermann
Romantic opera in three acts
Libretto by Richard Wagner
A terrible curse hangs over him: the infamous seaman known as “the flying Dutchman” can only go ashore every seven years to try to find a wife who, if she is true to him, will release him from his ordeal. If he fails, he is condemned to roam the oceans of the world. Senta, daughter of the sea captain Daland, knows of the Dutchman’s fate and feels that it is her destiny to save him through her love. But can her obsession with this phantom survive when she is faced with the reality? In his opera, included in the canon of “works fit for Bayreuth” in 1901, Richard Wagner portrays a man who despairs of life and society. Although composed in 1841 in Paris, the work did not appear until two years later in Dresden. In his production, director Philipp Stölzl questions the opera’s attitude towards women and follows the plot solely from Senta’s perspective – who is “sold” by her father and expected to give herself up entirely for another man.
In German with German and English surtitles
Introduction to the work 30 minutes before curtain-up
A co-production with the Staatsoper Unter den Linden Berlin
Original production by Theater Basel
Unreserved seating at the introductory matinee
https://www.theater-wien.at/en/events/cast/Cast/team10489/15389/?curr=en/events/season2026-27/1644/Der-fliegende-Hollaender
My Wagner Debut :) …. Steuermann
Romantic opera in three acts
Libretto by Richard Wagner
A terrible curse hangs over him: the infamous seaman known as “the flying Dutchman” can only go ashore every seven years to try to find a wife who, if she is true to him, will release him from his ordeal. If he fails, he is condemned to roam the oceans of the world. Senta, daughter of the sea captain Daland, knows of the Dutchman’s fate and feels that it is her destiny to save him through her love. But can her obsession with this phantom survive when she is faced with the reality? In his opera, included in the canon of “works fit for Bayreuth” in 1901, Richard Wagner portrays a man who despairs of life and society. Although composed in 1841 in Paris, the work did not appear until two years later in Dresden. In his production, director Philipp Stölzl questions the opera’s attitude towards women and follows the plot solely from Senta’s perspective – who is “sold” by her father and expected to give herself up entirely for another man.
In German with German and English surtitles
Introduction to the work 30 minutes before curtain-up
A co-production with the Staatsoper Unter den Linden Berlin
Original production by Theater Basel
Unreserved seating at the introductory matinee
https://www.theater-wien.at/en/events/cast/Cast/team10489/15389/?curr=en/events/season2026-27/1644/Der-fliegende-Hollaender
My Wagner Debut :) …. Steuermann
Romantic opera in three acts
Libretto by Richard Wagner
A terrible curse hangs over him: the infamous seaman known as “the flying Dutchman” can only go ashore every seven years to try to find a wife who, if she is true to him, will release him from his ordeal. If he fails, he is condemned to roam the oceans of the world. Senta, daughter of the sea captain Daland, knows of the Dutchman’s fate and feels that it is her destiny to save him through her love. But can her obsession with this phantom survive when she is faced with the reality? In his opera, included in the canon of “works fit for Bayreuth” in 1901, Richard Wagner portrays a man who despairs of life and society. Although composed in 1841 in Paris, the work did not appear until two years later in Dresden. In his production, director Philipp Stölzl questions the opera’s attitude towards women and follows the plot solely from Senta’s perspective – who is “sold” by her father and expected to give herself up entirely for another man.
In German with German and English surtitles
Introduction to the work 30 minutes before curtain-up
A co-production with the Staatsoper Unter den Linden Berlin
Original production by Theater Basel
Unreserved seating at the introductory matinee
https://www.theater-wien.at/en/events/cast/Cast/team10489/15389/?curr=en/events/season2026-27/1644/Der-fliegende-Hollaender
My Wagner Debut :) …. Steuermann
Romantic opera in three acts
Libretto by Richard Wagner
A terrible curse hangs over him: the infamous seaman known as “the flying Dutchman” can only go ashore every seven years to try to find a wife who, if she is true to him, will release him from his ordeal. If he fails, he is condemned to roam the oceans of the world. Senta, daughter of the sea captain Daland, knows of the Dutchman’s fate and feels that it is her destiny to save him through her love. But can her obsession with this phantom survive when she is faced with the reality? In his opera, included in the canon of “works fit for Bayreuth” in 1901, Richard Wagner portrays a man who despairs of life and society. Although composed in 1841 in Paris, the work did not appear until two years later in Dresden. In his production, director Philipp Stölzl questions the opera’s attitude towards women and follows the plot solely from Senta’s perspective – who is “sold” by her father and expected to give herself up entirely for another man.
In German with German and English surtitles
Introduction to the work 30 minutes before curtain-up
A co-production with the Staatsoper Unter den Linden Berlin
Original production by Theater Basel
Unreserved seating at the introductory matinee
https://www.theater-wien.at/en/events/cast/Cast/team10489/15389/?curr=en/events/season2026-27/1644/Der-fliegende-Hollaender
My Wagner Debut :) …. Steuermann
Romantic opera in three acts
Libretto by Richard Wagner
A terrible curse hangs over him: the infamous seaman known as “the flying Dutchman” can only go ashore every seven years to try to find a wife who, if she is true to him, will release him from his ordeal. If he fails, he is condemned to roam the oceans of the world. Senta, daughter of the sea captain Daland, knows of the Dutchman’s fate and feels that it is her destiny to save him through her love. But can her obsession with this phantom survive when she is faced with the reality? In his opera, included in the canon of “works fit for Bayreuth” in 1901, Richard Wagner portrays a man who despairs of life and society. Although composed in 1841 in Paris, the work did not appear until two years later in Dresden. In his production, director Philipp Stölzl questions the opera’s attitude towards women and follows the plot solely from Senta’s perspective – who is “sold” by her father and expected to give herself up entirely for another man.
In German with German and English surtitles
Introduction to the work 30 minutes before curtain-up
A co-production with the Staatsoper Unter den Linden Berlin
Original production by Theater Basel
Unreserved seating at the introductory matinee
https://www.theater-wien.at/en/events/cast/Cast/team10489/15389/?curr=en/events/season2026-27/1644/Der-fliegende-Hollaender
My Wagner Debut :) …. Steuermann
Romantic opera in three acts
Libretto by Richard Wagner
A terrible curse hangs over him: the infamous seaman known as “the flying Dutchman” can only go ashore every seven years to try to find a wife who, if she is true to him, will release him from his ordeal. If he fails, he is condemned to roam the oceans of the world. Senta, daughter of the sea captain Daland, knows of the Dutchman’s fate and feels that it is her destiny to save him through her love. But can her obsession with this phantom survive when she is faced with the reality? In his opera, included in the canon of “works fit for Bayreuth” in 1901, Richard Wagner portrays a man who despairs of life and society. Although composed in 1841 in Paris, the work did not appear until two years later in Dresden. In his production, director Philipp Stölzl questions the opera’s attitude towards women and follows the plot solely from Senta’s perspective – who is “sold” by her father and expected to give herself up entirely for another man.
In German with German and English surtitles
Introduction to the work 30 minutes before curtain-up
A co-production with the Staatsoper Unter den Linden Berlin
Original production by Theater Basel
Unreserved seating at the introductory matinee
https://www.theater-wien.at/en/events/cast/Cast/team10489/15389/?curr=en/events/season2026-27/1644/Der-fliegende-Hollaender
“Mozart’s most popular opera is a deeply humane story of adventure with heavenly music.”
DIE ZAUBERFLÖTE
An opera in two acts, with one intermission
Libretto by Emanuel Schikaneder
Performed in German with German and English subtitles
James as Tamino
“Mozart’s most popular opera is a deeply humane story of adventure with heavenly music.”
DIE ZAUBERFLÖTE
An opera in two acts, with one intermission
Libretto by Emanuel Schikaneder
Performed in German with German and English subtitles
James as Tamino
Ensemble & Choir
Orchestra: Seattle Symphony
Choir: Seattle Symphony Chorale
Organ: Watjen Concert Organ
Artistic Leadership
Conductor: Jean-Sébastien Vallée
Vocal Soloists
Soprano: Sarah Dufresne
Countertenor: Nicholas Burns
Tenor: James Ley
Bass: Enrico Lagasca
Ensemble & Choir
Orchestra: Seattle Symphony
Choir: Seattle Symphony Chorale
Organ: Watjen Concert Organ
Artistic Leadership
Conductor: Jean-Sébastien Vallée
Vocal Soloists
Soprano: Sarah Dufresne
Countertenor: Nicholas Burns
Tenor: James Ley
Bass: Enrico Lagasca
Ensemble & Choir
Orchestra: Seattle Symphony
Choir: Seattle Symphony Chorale
Organ: Watjen Concert Organ
Artistic Leadership
Conductor: Jean-Sébastien Vallée
Vocal Soloists
Soprano: Sarah Dufresne
Countertenor: Nicholas Burns
Tenor: James Ley
Bass: Enrico Lagasca
Following performances at the Lucerne Festival and Musikfest Berlin, it is time that Robin de Raaff's L'Azur is heard in the Netherlands, with Janáček's impressive Glagolitic Mass as the grand finale.
An unforgettable musical experience
The Concertgebouw’s famous Main Hall is one of the best concert halls in the world, well-known for its exceptional acoustics and special atmosphere. In the Main Hall, you will feel history. Here, Gustav Mahler conducted his own compositions, as did Richard Strauss and Igor Stravinsky. Sergei Rachmaninoff played his own piano concertos in the Main Hall. This is also where musicians such as Leonard Bernstein, Vladimir Horowitz and Yehudi Menuhin gave legendary performances. Right up to now, the Main Hall offers a stage to the world’s best orchestras and musicians. Buy your tickets now and experience the magic of the Main Hall for yourself!
https://www.concertgebouw.nl/en/concerts/45743894-karina-canellakis-conducts-ravel-de-raaff-and-janacek
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.
Conductor
Director
Stage Designer
Lighting
Video
Choreographer
Chorus
Dramaturge
Dikoj
Boris
Kabanicha
Tichon
Káťa
Kudrjáš
Varvara
Kuligin
Glaša
Fekluša
Ein Mann
Eine Frau
Bayerisches Staatsorchester
Chorus of the Bayerische Staatsoper
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.
Conductor
Director
Stage Designer
Lighting
Video
Choreographer
Chorus
Dramaturge
Dikoj
Boris
Kabanicha
Tichon
Káťa
Kudrjáš
Varvara
Kuligin
Glaša
Fekluša
Ein Mann
Eine Frau
Bayerisches Staatsorchester
Chorus of the Bayerische Staatsoper
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.
Conductor
Director
Stage Designer
Lighting
Video
Choreographer
Chorus
Dramaturge
Dikoj
Boris
Kabanicha
Tichon
Káťa
Kudrjáš
Varvara
Kuligin
Glaša
Fekluša
Ein Mann
Eine Frau
Bayerisches Staatsorchester
Chorus of the Bayerische Staatsoper
“Mozart’s most popular opera is a deeply humane story of adventure with heavenly music.”
DIE ZAUBERFLÖTE
An opera in two acts, with one intermission
Libretto by Emanuel Schikaneder
Performed in German with German and English subtitles
James as Tamino
“Mozart’s most popular opera is a deeply humane story of adventure with heavenly music.”
DIE ZAUBERFLÖTE
An opera in two acts, with one intermission
Libretto by Emanuel Schikaneder
Performed in German with German and English subtitles
James as Tamino
Duration
5 pm – 9.35 pm
Intermissions after 75 and 170 minutes
Venue
Semperoper Dresden
Free introductory talk
held in the Semper Opera House cellar 45 minutes before curtain-up
Guided tour through the Semperoper
Conductor Axel Kober
Staging Uwe Eric Laufenberg
Set Design Christoph Schubiger
Costume Design Jessica Karge
Lighting Design Jan Seeger
Choir Jan Hoffmann
Children Choir Claudia Sebastian-Bertsch
Dramaturgy Hella Bartnig
Sächsischer Staatsopernchor Dresden
Kinderchor der Semperoper Dresden
Sächsische Staatskapelle Dresden
Generously supported by the Stiftung Semperoper – Förderstiftung
Die Feldmarschallin Johanni van Oostrum
Baron Ochs auf Lerchenau Andreas Bauer Kanabas
Octavian Emily Sierra
Herr von Faninal Martin Gantner
Sophie Soraya Mafi
Marianne Leitmetzerin Martina Welschenbach
Annina Michal Doron
Valzacchi N.N.
Ein Sänger James Ley
Der Haushofmeister der Marschallin Simeon Esper
Ein Notar Martin-Jan Nijhof
Der Haushofmeister bei Faninal Gerald Hupach
Ein Tierhändler Jin Yu
Ein Wirt Dan Karlström
Ein Polizeikommissar Peter Lobert
Conductor Axel Kober
Staging Uwe Eric Laufenberg
Set Design Christoph Schubiger
Costume Design Jessica Karge
Lighting Design Jan Seeger
Choir Jan Hoffmann
Children Choir Claudia Sebastian-Bertsch
Dramaturgy Hella Bartnig
Sächsischer Staatsopernchor Dresden
Kinderchor der Semperoper Dresden
Sächsische Staatskapelle Dresden
Generously supported by the Stiftung Semperoper – Förderstiftung
Die Feldmarschallin Johanni van Oostrum
Baron Ochs auf Lerchenau Andreas Bauer Kanabas
Octavian Emily Sierra
Herr von Faninal Martin Gantner
Sophie Soraya Mafi
Marianne Leitmetzerin Martina Welschenbach
Annina Michal Doron
Valzacchi N.N.
Ein Sänger James Ley
Der Haushofmeister der Marschallin Simeon Esper
Ein Notar Martin-Jan Nijhof
Der Haushofmeister bei Faninal Gerald Hupach
Ein Tierhändler Jin Yu
Ein Wirt Dan Karlström
Ein Polizeikommissar Peter Lobert
Conductor Axel Kober
Staging Uwe Eric Laufenberg
Set Design Christoph Schubiger
Costume Design Jessica Karge
Lighting Design Jan Seeger
Choir Jan Hoffmann
Children Choir Claudia Sebastian-Bertsch
Dramaturgy Hella Bartnig
Sächsischer Staatsopernchor Dresden
Kinderchor der Semperoper Dresden
Sächsische Staatskapelle Dresden
Generously supported by the Stiftung Semperoper – Förderstiftung
Die Feldmarschallin Johanni van Oostrum
Baron Ochs auf Lerchenau Andreas Bauer Kanabas
Octavian Emily Sierra
Herr von Faninal Martin Gantner
Sophie Soraya Mafi
Marianne Leitmetzerin Martina Welschenbach
Annina Michal Doron
Valzacchi N.N.
Ein Sänger James Ley
Der Haushofmeister der Marschallin Simeon Esper
Ein Notar Martin-Jan Nijhof
Der Haushofmeister bei Faninal Gerald Hupach
Ein Tierhändler Jin Yu
Ein Wirt Dan Karlström
Ein Polizeikommissar Peter Lobert
Die Reihe der Semper Soiréen erfreut sich großer Beliebtheit, kein Wunder, kann man dabei oftmals musikalische Überraschungen erleben. Der musikalische Bogen spannt sich vom Musical bis zum Kunstlied, die musikalischen Kostbarkeiten werden in wechselnden Formationen mit Sänger*innen aus dem Ensemble der Semperoper präsentiert.
Conductor Axel Kober
Staging Uwe Eric Laufenberg
Set Design Christoph Schubiger
Costume Design Jessica Karge
Lighting Design Jan Seeger
Choir Jan Hoffmann
Children Choir Claudia Sebastian-Bertsch
Dramaturgy Hella Bartnig
Sächsischer Staatsopernchor Dresden
Kinderchor der Semperoper Dresden
Sächsische Staatskapelle Dresden
Generously supported by the Stiftung Semperoper – Förderstiftung
Die Feldmarschallin Johanni van Oostrum
Baron Ochs auf Lerchenau Andreas Bauer Kanabas
Octavian Emily Sierra
Herr von Faninal Martin Gantner
Sophie Soraya Mafi
Marianne Leitmetzerin Martina Welschenbach
Annina Michal Doron
Valzacchi N.N.
Ein Sänger James Ley
Der Haushofmeister der Marschallin Simeon Esper
Ein Notar Martin-Jan Nijhof
Der Haushofmeister bei Faninal Gerald Hupach
Ein Tierhändler Jin Yu
Ein Wirt Dan Karlström
Ein Polizeikommissar Peter Lobert
“Mozart’s most popular opera is a deeply humane story of adventure with heavenly music.”
DIE ZAUBERFLÖTE
An opera in two acts, with one intermission
Libretto by Emanuel Schikaneder
Performed in German with German and English subtitles
James as Tamino
“Mozart’s most popular opera is a deeply humane story of adventure with heavenly music.”
DIE ZAUBERFLÖTE
An opera in two acts, with one intermission
Libretto by Emanuel Schikaneder
Performed in German with German and English subtitles
James as Tamino
“Mozart’s most popular opera is a deeply humane story of adventure with heavenly music.”
DIE ZAUBERFLÖTE
An opera in two acts, with one intermission
Libretto by Emanuel Schikaneder
Performed in German with German and English subtitles
James as Tamino
The opera reveals itself as a spiritual tragedy where compassion overcomes dogma and grace is born from despair
“No greater love exists than that which is offered to shame to save another’s soul”
Dostoievski
Jenůfa, by Leoš Janáček, floods the Liceu with overwhelming emotional power in Àlex Ollé’s new and exceptional production, with the ever-revealing conducting of Jonathan Nott and a luxury cast led by Asmik Grigorian and Nina Stemme.
Inspired by the harshness of rural life and the stern morality of a closed community, Jenůfa becomes a modern passion in which the sacred and the sacrilegious intertwine in an unsettling dance of devastating consequences.
At the heart of the drama beat two female figures in constant tension: Jenůfa, wounded by love and shame, and the Kostelnička, her stepmother, both moral beacon and author of a crime that changes everything. Jenůfa embodies profaned innocence that, despite the pain, remains sacred; The Kostelnička, on the other hand, represents the paroxysm of a law without compassion: the strict voice of community and religion.
Grandmother Buryjovka: Marta Infante
Laca Klemeň: Pavel Černoch
Števa Buryja: James Ley
Kostelnička Buryjovka: Nina Stemme
Jenůfa: Asmik Grigorian
The mill foreman: Guillem Batllori (May 8, 14, 20) / Nojus Zalys (May 11, 16, 22)
The mayor: Christopher Robertson
The mayor's wife: Laura Vila
Karolka: Rosa Maria Abella
A shepherdess: Olga Szabo / Mariel Aguilar
Barena: Alexandra Zabala / Mariel Fontes
Jano: Ruth González
Aunt: Elisabeth Gillming / Cristina Tena
Voice 1: Raquel Lucena / Helena Zaborowska
Voice 2: Dimitar Darlev / Alessandro Vandin [1]
The opera reveals itself as a spiritual tragedy where compassion overcomes dogma and grace is born from despair
“No greater love exists than that which is offered to shame to save another’s soul”
Dostoievski
Jenůfa, by Leoš Janáček, floods the Liceu with overwhelming emotional power in Àlex Ollé’s new and exceptional production, with the ever-revealing conducting of Jonathan Nott and a luxury cast led by Asmik Grigorian and Nina Stemme.
Inspired by the harshness of rural life and the stern morality of a closed community, Jenůfa becomes a modern passion in which the sacred and the sacrilegious intertwine in an unsettling dance of devastating consequences.
At the heart of the drama beat two female figures in constant tension: Jenůfa, wounded by love and shame, and the Kostelnička, her stepmother, both moral beacon and author of a crime that changes everything. Jenůfa embodies profaned innocence that, despite the pain, remains sacred; The Kostelnička, on the other hand, represents the paroxysm of a law without compassion: the strict voice of community and religion.
Grandmother Buryjovka: Marta Infante
Laca Klemeň: Pavel Černoch
Števa Buryja: James Ley
Kostelnička Buryjovka: Nina Stemme
Jenůfa: Asmik Grigorian
The mill foreman: Guillem Batllori (May 8, 14, 20) / Nojus Zalys (May 11, 16, 22)
The mayor: Christopher Robertson
The mayor's wife: Laura Vila
Karolka: Rosa Maria Abella
A shepherdess: Olga Szabo / Mariel Aguilar
Barena: Alexandra Zabala / Mariel Fontes
Jano: Ruth González
Aunt: Elisabeth Gillming / Cristina Tena
Voice 1: Raquel Lucena / Helena Zaborowska
Voice 2: Dimitar Darlev / Alessandro Vandin [1]
The opera reveals itself as a spiritual tragedy where compassion overcomes dogma and grace is born from despair
“No greater love exists than that which is offered to shame to save another’s soul”
Dostoievski
Jenůfa, by Leoš Janáček, floods the Liceu with overwhelming emotional power in Àlex Ollé’s new and exceptional production, with the ever-revealing conducting of Jonathan Nott and a luxury cast led by Asmik Grigorian and Nina Stemme.
Inspired by the harshness of rural life and the stern morality of a closed community, Jenůfa becomes a modern passion in which the sacred and the sacrilegious intertwine in an unsettling dance of devastating consequences.
At the heart of the drama beat two female figures in constant tension: Jenůfa, wounded by love and shame, and the Kostelnička, her stepmother, both moral beacon and author of a crime that changes everything. Jenůfa embodies profaned innocence that, despite the pain, remains sacred; The Kostelnička, on the other hand, represents the paroxysm of a law without compassion: the strict voice of community and religion.
Grandmother Buryjovka: Marta Infante
Laca Klemeň: Pavel Černoch
Števa Buryja: James Ley
Kostelnička Buryjovka: Nina Stemme
Jenůfa: Asmik Grigorian
The mill foreman: Guillem Batllori (May 8, 14, 20) / Nojus Zalys (May 11, 16, 22)
The mayor: Christopher Robertson
The mayor's wife: Laura Vila
Karolka: Rosa Maria Abella
A shepherdess: Olga Szabo / Mariel Aguilar
Barena: Alexandra Zabala / Mariel Fontes
Jano: Ruth González
Aunt: Elisabeth Gillming / Cristina Tena
Voice 1: Raquel Lucena / Helena Zaborowska
Voice 2: Dimitar Darlev / Alessandro Vandin [1]
The opera reveals itself as a spiritual tragedy where compassion overcomes dogma and grace is born from despair
“No greater love exists than that which is offered to shame to save another’s soul”
Dostoievski
Jenůfa, by Leoš Janáček, floods the Liceu with overwhelming emotional power in Àlex Ollé’s new and exceptional production, with the ever-revealing conducting of Jonathan Nott and a luxury cast led by Asmik Grigorian and Nina Stemme.
Inspired by the harshness of rural life and the stern morality of a closed community, Jenůfa becomes a modern passion in which the sacred and the sacrilegious intertwine in an unsettling dance of devastating consequences.
At the heart of the drama beat two female figures in constant tension: Jenůfa, wounded by love and shame, and the Kostelnička, her stepmother, both moral beacon and author of a crime that changes everything. Jenůfa embodies profaned innocence that, despite the pain, remains sacred; The Kostelnička, on the other hand, represents the paroxysm of a law without compassion: the strict voice of community and religion.
Grandmother Buryjovka: Marta Infante
Laca Klemeň: Pavel Černoch
Števa Buryja: James Ley
Kostelnička Buryjovka: Nina Stemme
Jenůfa: Asmik Grigorian
The mill foreman: Guillem Batllori (May 8, 14, 20) / Nojus Zalys (May 11, 16, 22)
The mayor: Christopher Robertson
The mayor's wife: Laura Vila
Karolka: Rosa Maria Abella
A shepherdess: Olga Szabo / Mariel Aguilar
Barena: Alexandra Zabala / Mariel Fontes
Jano: Ruth González
Aunt: Elisabeth Gillming / Cristina Tena
Voice 1: Raquel Lucena / Helena Zaborowska
Voice 2: Dimitar Darlev / Alessandro Vandin [1]
The opera reveals itself as a spiritual tragedy where compassion overcomes dogma and grace is born from despair
“No greater love exists than that which is offered to shame to save another’s soul”
Dostoievski
Jenůfa, by Leoš Janáček, floods the Liceu with overwhelming emotional power in Àlex Ollé’s new and exceptional production, with the ever-revealing conducting of Jonathan Nott and a luxury cast led by Asmik Grigorian and Nina Stemme.
Inspired by the harshness of rural life and the stern morality of a closed community, Jenůfa becomes a modern passion in which the sacred and the sacrilegious intertwine in an unsettling dance of devastating consequences.
At the heart of the drama beat two female figures in constant tension: Jenůfa, wounded by love and shame, and the Kostelnička, her stepmother, both moral beacon and author of a crime that changes everything. Jenůfa embodies profaned innocence that, despite the pain, remains sacred; The Kostelnička, on the other hand, represents the paroxysm of a law without compassion: the strict voice of community and religion.
Grandmother Buryjovka: Marta Infante
Laca Klemeň: Pavel Černoch
Števa Buryja: James Ley
Kostelnička Buryjovka: Nina Stemme
Jenůfa: Asmik Grigorian
The mill foreman: Guillem Batllori (May 8, 14, 20) / Nojus Zalys (May 11, 16, 22)
The mayor: Christopher Robertson
The mayor's wife: Laura Vila
Karolka: Rosa Maria Abella
A shepherdess: Olga Szabo / Mariel Aguilar
Barena: Alexandra Zabala / Mariel Fontes
Jano: Ruth González
Aunt: Elisabeth Gillming / Cristina Tena
Voice 1: Raquel Lucena / Helena Zaborowska
Voice 2: Dimitar Darlev / Alessandro Vandin [1]
The opera reveals itself as a spiritual tragedy where compassion overcomes dogma and grace is born from despair
“No greater love exists than that which is offered to shame to save another’s soul”
Dostoievski
Jenůfa, by Leoš Janáček, floods the Liceu with overwhelming emotional power in Àlex Ollé’s new and exceptional production, with the ever-revealing conducting of Jonathan Nott and a luxury cast led by Asmik Grigorian and Nina Stemme.
Inspired by the harshness of rural life and the stern morality of a closed community, Jenůfa becomes a modern passion in which the sacred and the sacrilegious intertwine in an unsettling dance of devastating consequences.
At the heart of the drama beat two female figures in constant tension: Jenůfa, wounded by love and shame, and the Kostelnička, her stepmother, both moral beacon and author of a crime that changes everything. Jenůfa embodies profaned innocence that, despite the pain, remains sacred; The Kostelnička, on the other hand, represents the paroxysm of a law without compassion: the strict voice of community and religion.
Grandmother Buryjovka: Marta Infante
Laca Klemeň: Pavel Černoch
Števa Buryja: James Ley
Kostelnička Buryjovka: Nina Stemme
Jenůfa: Asmik Grigorian
The mill foreman: Guillem Batllori (May 8, 14, 20) / Nojus Zalys (May 11, 16, 22)
The mayor: Christopher Robertson
The mayor's wife: Laura Vila
Karolka: Rosa Maria Abella
A shepherdess: Olga Szabo / Mariel Aguilar
Barena: Alexandra Zabala / Mariel Fontes
Jano: Ruth González
Aunt: Elisabeth Gillming / Cristina Tena
Voice 1: Raquel Lucena / Helena Zaborowska
Voice 2: Dimitar Darlev / Alessandro Vandin [1]
Duration
7 pm – 10.15 pm
Intermission after 90 minutes
Venue
Semperoper Dresden
Free introductory talk
held in the Semper Opera House cellar 45 minutes before curtain-up
Guided tour through the Semperoper
Conductor Nicholas Collon
Staging Andreas Kriegenburg
Set Design Harald Thor
Costume Design Tanja Hofmann
Lighting Design Stefan Bolliger
Choir Bobin Kim
Dramaturgy Anne Gerber
Sächsischer Staatsopernchor Dresden
Sächsische Staatskapelle Dresden
Generously supported by the Stiftung Semperoper – Förderstiftung
Don Giovanni Ryan Speedo Green
Il Commendatore Antonio Di Matteo
Donna Anna Mariangela Sicilia
Don Ottavio James Ley
Donna Elvira Carolina López Moreno
Leporello Vladyslav Buialskyi
Masetto Metehan Köklü
Zerlina Valerie Eickhoff
Conductor Nicholas Collon
Staging Andreas Kriegenburg
Set Design Harald Thor
Costume Design Tanja Hofmann
Lighting Design Stefan Bolliger
Choir Bobin Kim
Dramaturgy Anne Gerber
Sächsischer Staatsopernchor Dresden
Sächsische Staatskapelle Dresden
Generously supported by the Stiftung Semperoper – Förderstiftung
Don Giovanni Ryan Speedo Green
Il Commendatore Antonio Di Matteo
Donna Anna Mariangela Sicilia
Don Ottavio James Ley
Donna Elvira Carolina López Moreno
Leporello Vladyslav Buialskyi
Masetto Metehan Köklü
Zerlina Valerie Eickhoff
Conductor Nicholas Collon
Staging Andreas Kriegenburg
Set Design Harald Thor
Costume Design Tanja Hofmann
Lighting Design Stefan Bolliger
Choir Bobin Kim
Dramaturgy Anne Gerber
Sächsischer Staatsopernchor Dresden
Sächsische Staatskapelle Dresden
Generously supported by the Stiftung Semperoper – Förderstiftung
Don Giovanni Ryan Speedo Green
Il Commendatore Antonio Di Matteo
Donna Anna Mariangela Sicilia
Don Ottavio James Ley
Donna Elvira Carolina López Moreno
Leporello Vladyslav Buialskyi
Masetto Metehan Köklü
Zerlina Valerie Eickhoff
Conductor Nicholas Collon
Staging Andreas Kriegenburg
Set Design Harald Thor
Costume Design Tanja Hofmann
Lighting Design Stefan Bolliger
Choir Bobin Kim
Dramaturgy Anne Gerber
Sächsischer Staatsopernchor Dresden
Sächsische Staatskapelle Dresden
Generously supported by the Stiftung Semperoper – Förderstiftung
Don Giovanni Ryan Speedo Green
Il Commendatore Antonio Di Matteo
Donna Anna Mariangela Sicilia
Don Ottavio James Ley
Donna Elvira Carolina López Moreno
Leporello Vladyslav Buialskyi
Masetto Metehan Köklü
Zerlina Valerie Eickhoff
Musikalische Leitung Giampaolo Bisanti
Inszenierung Barbara Wysocka
Bühne Barbara Hanicka
Kostüme Julia Kornacka
Licht Fabio Antoci
Video Barbara Wysocka
Chor Jan Hoffmann
Dramaturgie Benedikt Stampfli
Sächsischer Staatsopernchor Dresden
Sächsische Staatskapelle Dresden
Juliette Emily Pogorelc
Gertrude Michal Doron
Tybalt James Ley
Pâris Vladyslav Buialskyi
Capulet Oleksandr Pushniak
Grégorio David Roy
Roméo Bekhzod Davronov
Stéphano Valerie Eickhoff
Benvolio Jin Yu
Mercutio Anton Beliaev
Frère Laurent Peter Kellner
Le Duc de Vérone Tilmann Rönnebeck
Frère Jean Meinhardt Möbius
Musikalische Leitung Giampaolo Bisanti
Inszenierung Barbara Wysocka
Bühne Barbara Hanicka
Kostüme Julia Kornacka
Licht Fabio Antoci
Video Barbara Wysocka
Chor Jan Hoffmann
Dramaturgie Benedikt Stampfli
Sächsischer Staatsopernchor Dresden
Sächsische Staatskapelle Dresden
Juliette Emily Pogorelc
Gertrude Michal Doron
Tybalt James Ley
Pâris Vladyslav Buialskyi
Capulet Oleksandr Pushniak
Grégorio David Roy
Roméo Bekhzod Davronov
Stéphano Valerie Eickhoff
Benvolio Jin Yu
Mercutio Anton Beliaev
Frère Laurent Peter Kellner
Le Duc de Vérone Tilmann Rönnebeck
Frère Jean Meinhardt Möbius
Musikalische Leitung Giampaolo Bisanti
Inszenierung Barbara Wysocka
Bühne Barbara Hanicka
Kostüme Julia Kornacka
Licht Fabio Antoci
Video Barbara Wysocka
Chor Jan Hoffmann
Dramaturgie Benedikt Stampfli
Sächsischer Staatsopernchor Dresden
Sächsische Staatskapelle Dresden
Juliette Emily Pogorelc
Gertrude Michal Doron
Tybalt James Ley
Pâris Vladyslav Buialskyi
Capulet Oleksandr Pushniak
Grégorio David Roy
Roméo Bekhzod Davronov
Stéphano Valerie Eickhoff
Benvolio Jin Yu
Mercutio Anton Beliaev
Frère Laurent Peter Kellner
Le Duc de Vérone Tilmann Rönnebeck
Frère Jean Meinhardt Möbius
Musikalische Leitung Giampaolo Bisanti
Inszenierung Barbara Wysocka
Bühne Barbara Hanicka
Kostüme Julia Kornacka
Licht Fabio Antoci
Video Barbara Wysocka
Chor Jan Hoffmann
Dramaturgie Benedikt Stampfli
Sächsischer Staatsopernchor Dresden
Sächsische Staatskapelle Dresden
Juliette Emily Pogorelc
Gertrude Michal Doron
Tybalt James Ley
Pâris Vladyslav Buialskyi
Capulet Oleksandr Pushniak
Grégorio David Roy
Roméo Bekhzod Davronov
Stéphano Valerie Eickhoff
Benvolio Jin Yu
Mercutio Anton Beliaev
Frère Laurent Peter Kellner
Le Duc de Vérone Tilmann Rönnebeck
Frère Jean Meinhardt Möbius
“Mozart’s most popular opera is a deeply humane story of adventure with heavenly music.”
DIE ZAUBERFLÖTE
An opera in two acts, with one intermission
Libretto by Emanuel Schikaneder
Performed in German with German and English subtitles
James as Tamino
A European woman in the hands of Muslim fundamentalists. A western rescue mission goes awry. Execution by the special unit is a foregone conclusion. But: vengeance is nothing - forgiveness everything! Unfortunately only a very few have the greatness of heart to exercise it. Mozart's contribution to the clash of civilizations and a not-to-be-underestimated comedy for music.
Conductor
(2026: MAY 31, JUN 03, 05)
(2027: MAY 06, 08, 11)
Director
Choreographer
Production Assistant
Stage Designer
Lighting
Chorus
Konstanze
(2026: MAY 31, JUN 03, 05)
(2027: MAY 06, 08, 11)
Blonde
(2026: MAY 31, JUN 03, 05)
(2027: MAY 06, 08, 11)
Belmonte
(2026: MAY 31, JUN 03, 05)
(2027: MAY 06, 08, 11)
Pedrillo
(2026: MAY 31, JUN 03, 05)
(2027: MAY 06, 08, 11)
Osmin
(2026: MAY 31, JUN 03, 05)
(2027: MAY 06, 08, 11)
Bassa Selim
Erzählerin
Bayerisches Staatsorchester
Chorus of the Bayerische Staatsoper
A European woman in the hands of Muslim fundamentalists. A western rescue mission goes awry. Execution by the special unit is a foregone conclusion. But: vengeance is nothing - forgiveness everything! Unfortunately only a very few have the greatness of heart to exercise it. Mozart's contribution to the clash of civilizations and a not-to-be-underestimated comedy for music.
Conductor
(2026: MAY 31, JUN 03, 05)
(2027: MAY 06, 08, 11)
Director
Choreographer
Production Assistant
Stage Designer
Lighting
Chorus
Konstanze
(2026: MAY 31, JUN 03, 05)
(2027: MAY 06, 08, 11)
Blonde
(2026: MAY 31, JUN 03, 05)
(2027: MAY 06, 08, 11)
Belmonte
(2026: MAY 31, JUN 03, 05)
(2027: MAY 06, 08, 11)
Pedrillo
(2026: MAY 31, JUN 03, 05)
(2027: MAY 06, 08, 11)
Osmin
(2026: MAY 31, JUN 03, 05)
(2027: MAY 06, 08, 11)
Bassa Selim
Erzählerin
Bayerisches Staatsorchester
Chorus of the Bayerische Staatsoper
A European woman in the hands of Muslim fundamentalists. A western rescue mission goes awry. Execution by the special unit is a foregone conclusion. But: vengeance is nothing - forgiveness everything! Unfortunately only a very few have the greatness of heart to exercise it. Mozart's contribution to the clash of civilizations and a not-to-be-underestimated comedy for music.
Conductor
(2026: MAY 31, JUN 03, 05)
(2027: MAY 06, 08, 11)
Director
Choreographer
Production Assistant
Stage Designer
Lighting
Chorus
Konstanze
(2026: MAY 31, JUN 03, 05)
(2027: MAY 06, 08, 11)
Blonde
(2026: MAY 31, JUN 03, 05)
(2027: MAY 06, 08, 11)
Belmonte
(2026: MAY 31, JUN 03, 05)
(2027: MAY 06, 08, 11)
Pedrillo
(2026: MAY 31, JUN 03, 05)
(2027: MAY 06, 08, 11)
Osmin
(2026: MAY 31, JUN 03, 05)
(2027: MAY 06, 08, 11)
Bassa Selim
Erzählerin
Bayerisches Staatsorchester
Chorus of the Bayerische Staatsoper
“Mozart’s most popular opera is a deeply humane story of adventure with heavenly music.”
DIE ZAUBERFLÖTE
An opera in two acts, with one intermission
Libretto by Emanuel Schikaneder
Performed in German with German and English subtitles
James as Tamino
“Mozart’s most popular opera is a deeply humane story of adventure with heavenly music.”
DIE ZAUBERFLÖTE
An opera in two acts, with one intermission
Libretto by Emanuel Schikaneder
Performed in German with German and English subtitles
James as Tamino
First performed in Dresden in 1924, Richard Strauss’s Intermezzo provides all manner of insights into his turbulent married life. A comedy with symphonic interludes in two acts.
(Libretto by the composer)
Performed in German with German and English supertitles
Musical direction Patrick Hahn
Staging Axel Ranisch
stage Saskia Wunsch
Costumes Alfred Mayerhofer
Light Fabio Antoci
video Falko Herold
choreography Michael Tucker
dramaturgy Jörg Rieker
Saxon State Orchestra Dresden
Project Partners:
Savings Banks Finance Group Saxony,
East Saxon Savings Bank Dresden,
Savings Banks Insurance Saxony,
LBBW
Christine Clara Nadeshdin
Court Kapellmeister Robert Storch Christoph Pohl
Anna Ute Selbig
Baron Lummer James Ley
The notary Bernhard Hansky
The notary's wife Nadine Second
A bandmaster Jürgen Müller
A Commercial Councillor Anton Beliaev
A Justice Councillor Martin-Jan Nijhof
A chamber singer Tilmann Rönnebeck
Resi Sofia Savenko
Pauline Katharina Pittelkow
Richard Erik Brünner
First performed in Dresden in 1924, Richard Strauss’s Intermezzo provides all manner of insights into his turbulent married life. A comedy with symphonic interludes in two acts.
(Libretto by the composer)
Performed in German with German and English supertitles
Musical direction Patrick Hahn
Staging Axel Ranisch
stage Saskia Wunsch
Costumes Alfred Mayerhofer
Light Fabio Antoci
video Falko Herold
choreography Michael Tucker
dramaturgy Jörg Rieker
Saxon State Orchestra Dresden
Project Partners:
Savings Banks Finance Group Saxony,
East Saxon Savings Bank Dresden,
Savings Banks Insurance Saxony,
LBBW
Christine Clara Nadeshdin
Court Kapellmeister Robert Storch Christoph Pohl
Anna Ute Selbig
Baron Lummer James Ley
The notary Bernhard Hansky
The notary's wife Nadine Second
A bandmaster Jürgen Müller
A Commercial Councillor Anton Beliaev
A Justice Councillor Martin-Jan Nijhof
A chamber singer Tilmann Rönnebeck
Resi Sofia Savenko
Pauline Katharina Pittelkow
Richard Erik Brünner
First performed in Dresden in 1924, Richard Strauss’s Intermezzo provides all manner of insights into his turbulent married life. A comedy with symphonic interludes in two acts.
(Libretto by the composer)
Performed in German with German and English supertitles
Musical direction Patrick Hahn
Staging Axel Ranisch
stage Saskia Wunsch
Costumes Alfred Mayerhofer
Light Fabio Antoci
video Falko Herold
choreography Michael Tucker
dramaturgy Jörg Rieker
Saxon State Orchestra Dresden
Project Partners:
Savings Banks Finance Group Saxony,
East Saxon Savings Bank Dresden,
Savings Banks Insurance Saxony,
LBBW
Christine Clara Nadeshdin
Court Kapellmeister Robert Storch Christoph Pohl
Anna Ute Selbig
Baron Lummer James Ley
The notary Bernhard Hansky
The notary's wife Nadine Second
A bandmaster Jürgen Müller
A Commercial Councillor Anton Beliaev
A Justice Councillor Martin-Jan Nijhof
A chamber singer Tilmann Rönnebeck
Resi Sofia Savenko
Pauline Katharina Pittelkow
Richard Erik Brünner
Musical direction Giulio Cilona
Staging Andreas Kriegenburg
Stage design Harald Thor
Costumes Tanja Hofmann
Light Stefan Bolliger
choir Bobin Kim
dramaturgy Anne Gerber
Saxon State Opera Chorus Dresden
Saxon State Orchestra Dresden
With the kind support of the Semperoper Foundation – Förderstiftung
Don Giovanni Lucas Meachem
Il Commendatore Tilmann Rönnebeck
Donna Anna Martina Russomanno
Don Ottavio James Ley
Donna Elvira Tara Erraught
Leporello Neven Crnić
Masetto Vladyslav Buialskyi
Zerlina Valerie Eickhoff
Musical direction Giulio Cilona
Staging Andreas Kriegenburg
Stage design Harald Thor
Costumes Tanja Hofmann
Light Stefan Bolliger
choir Bobin Kim
dramaturgy Anne Gerber
Saxon State Opera Chorus Dresden
Saxon State Orchestra Dresden
With the kind support of the Semperoper Foundation – Förderstiftung
Don Giovanni Lucas Meachem
Il Commendatore Tilmann Rönnebeck
Donna Anna Martina Russomanno
Don Ottavio James Ley
Donna Elvira Tara Erraught
Leporello Neven Crnić
Masetto Vladyslav Buialskyi
Zerlina Valerie Eickhoff
Musical direction Giulio Cilona
Staging Andreas Kriegenburg
Stage design Harald Thor
Costumes Tanja Hofmann
Light Stefan Bolliger
choir Bobin Kim
dramaturgy Anne Gerber
Saxon State Opera Chorus Dresden
Saxon State Orchestra Dresden
With the kind support of the Semperoper Foundation – Förderstiftung
Don Giovanni Lucas Meachem
Il Commendatore Tilmann Rönnebeck
Donna Anna Martina Russomanno
Don Ottavio James Ley
Donna Elvira Tara Erraught
Leporello Neven Crnić
Masetto Vladyslav Buialskyi
Zerlina Valerie Eickhoff
Musical direction Giulio Cilona
Staging Andreas Kriegenburg
Stage design Harald Thor
Costumes Tanja Hofmann
Light Stefan Bolliger
choir Bobin Kim
dramaturgy Anne Gerber
Saxon State Opera Chorus Dresden
Saxon State Orchestra Dresden
With the kind support of the Semperoper Foundation – Förderstiftung
Don Giovanni Lucas Meachem
Il Commendatore Tilmann Rönnebeck
Donna Anna Martina Russomanno
Don Ottavio James Ley
Donna Elvira Tara Erraught
Leporello Neven Crnić
Masetto Vladyslav Buialskyi
Zerlina Valerie Eickhoff
Musical direction Giulio Cilona
Staging Andreas Kriegenburg
Stage design Harald Thor
Costumes Tanja Hofmann
Light Stefan Bolliger
choir Bobin Kim
dramaturgy Anne Gerber
Saxon State Opera Chorus Dresden
Saxon State Orchestra Dresden
With the kind support of the Semperoper Foundation – Förderstiftung
Don Giovanni Lucas Meachem
Il Commendatore Tilmann Rönnebeck
Donna Anna Martina Russomanno
Don Ottavio James Ley
Donna Elvira Tara Erraught
Leporello Neven Crnić
Masetto Vladyslav Buialskyi
Zerlina Valerie Eickhoff
Musical direction Giulio Cilona
Staging Andreas Kriegenburg
Stage design Harald Thor
Costumes Tanja Hofmann
Light Stefan Bolliger
choir Bobin Kim
dramaturgy Anne Gerber
Saxon State Opera Chorus Dresden
Saxon State Orchestra Dresden
With the kind support of the Semperoper Foundation – Förderstiftung
Don Giovanni Lucas Meachem
Il Commendatore Tilmann Rönnebeck
Donna Anna Martina Russomanno
Don Ottavio James Ley
Donna Elvira Tara Erraught
Leporello Neven Crnić
Masetto Vladyslav Buialskyi
Zerlina Valerie Eickhoff
22. JANUAR 2026 KL. 19.30
24. JANUAR 2026 KL. 14.00
KONCERTSALEN
Lili Boulanger (1893-1918)
D’un matin de printemps (1917-18)
(ca. 5’)
Hector Berlioz (1803-69)
Les nuits d’été (1849/1856)
• Villanelle
• Le spectre de la rose
• Sur les lagunes
• Absence
• Au cimetière
• L’île inconnue
(ca. 30’)
-
PAUSE (30 min.) ca. kl. 20.10
-
Karol Szymanowski (1882-1937)
Symfoni nr. 3, Nattens sang, op. 27 (1916)
for tenor, blandet kor og orkester
• Moderato assai –
• Vivace, scherzando
• Largo
(ca. 24’)
Maurice Ravel (1875-1937)
Daphnis et Chloé, suite nr. 2 (1913)
• Lever de jour
• Pantomime
• Danse Générale
(ca. 18’)
-
MØD MUSIKKEN kl. 18.30/13.00 i Koncertsalen med Celine Haastrup
22. JANUAR 2026 KL. 19.30
24. JANUAR 2026 KL. 14.00
KONCERTSALEN
Lili Boulanger (1893-1918)
D’un matin de printemps (1917-18)
(ca. 5’)
Hector Berlioz (1803-69)
Les nuits d’été (1849/1856)
• Villanelle
• Le spectre de la rose
• Sur les lagunes
• Absence
• Au cimetière
• L’île inconnue
(ca. 30’)
-
PAUSE (30 min.) ca. kl. 20.10
-
Karol Szymanowski (1882-1937)
Symfoni nr. 3, Nattens sang, op. 27 (1916)
for tenor, blandet kor og orkester
• Moderato assai –
• Vivace, scherzando
• Largo
(ca. 24’)
Maurice Ravel (1875-1937)
Daphnis et Chloé, suite nr. 2 (1913)
• Lever de jour
• Pantomime
• Danse Générale
(ca. 18’)
-
MØD MUSIKKEN kl. 18.30/13.00 i Koncertsalen med Celine Haastrup
“Mozart’s most popular opera is a deeply humane story of adventure with heavenly music.”
DIE ZAUBERFLÖTE
An opera in two acts, with one intermission
Libretto by Emanuel Schikaneder
Performed in German with German and English subtitles
James as Tamino
Nashville Symphony & Chorus | Nathan Aspinall, conductor | Tucker Biddlecombe, director | Estelí Gomez, soprano | Amanda Crider, mezzo-soprano | James Ley, tenor | Enrico Lagasca, bass baritone
Experience Nashville’s grandest Messiah, brought to life by the powerful Nashville Symphony and Chorus, joined by four extraordinary soloists. Celebrate the season with the resounding "Hallelujah" Chorus and the passion, drama, and breathtaking beauty of this timeless masterpiece.
Nashville Symphony & Chorus | Nathan Aspinall, conductor | Tucker Biddlecombe, director | Estelí Gomez, soprano | Amanda Crider, mezzo-soprano | James Ley, tenor | Enrico Lagasca, bass baritone
Experience Nashville’s grandest Messiah, brought to life by the powerful Nashville Symphony and Chorus, joined by four extraordinary soloists. Celebrate the season with the resounding "Hallelujah" Chorus and the passion, drama, and breathtaking beauty of this timeless masterpiece.
Nashville Symphony & Chorus | Nathan Aspinall, conductor | Tucker Biddlecombe, director | Estelí Gomez, soprano | Amanda Crider, mezzo-soprano | James Ley, tenor | Enrico Lagasca, bass baritone
Experience Nashville’s grandest Messiah, brought to life by the powerful Nashville Symphony and Chorus, joined by four extraordinary soloists. Celebrate the season with the resounding "Hallelujah" Chorus and the passion, drama, and breathtaking beauty of this timeless masterpiece.
“Mozart’s most popular opera is a deeply humane story of adventure with heavenly music.”
DIE ZAUBERFLÖTE
An opera in two acts, with one intermission
Libretto by Emanuel Schikaneder
Performed in German with German and English subtitles
James as Tamino
Opera Singspiel in three acts
Libretto by Johann Gottlieb Stephanie from a text by Christoph Friedrich Bretzner to the operetta Belmont und Constanze oder Die Entführung aus dem Serail by Johann André
Performed in German with German and English supertitles
Premiere
15. April 2017
Conductor Leo Hussain
Inszenierung & Bühne Michiel Dijkema
Costume Design Claudia Damm, Jula Reindell
Lighting Design Fabio Antoci
Choir Bobin Kim
Dramaturgy Stefan Ulrich
Sächsischer Staatsopernchor Dresden
Sächsische Staatskapelle Dresden
Bassa Selim Jaron Löwenberg
Konstanze Nikola Hillebrand
Blonde Jasmin Delfs
Belmonte James Ley
Pedrillo Aaron Pegram
Osmin Ante Jerkunica, Peter Lobert
Vier Solostimmen Maria König, Rahel Haar, Frank Blümel, Andreas Heinze
Opera Singspiel in three acts
Libretto by Johann Gottlieb Stephanie from a text by Christoph Friedrich Bretzner to the operetta Belmont und Constanze oder Die Entführung aus dem Serail by Johann André
Performed in German with German and English supertitles
Premiere
15. April 2017
Conductor Leo Hussain
Inszenierung & Bühne Michiel Dijkema
Costume Design Claudia Damm, Jula Reindell
Lighting Design Fabio Antoci
Choir Bobin Kim
Dramaturgy Stefan Ulrich
Sächsischer Staatsopernchor Dresden
Sächsische Staatskapelle Dresden
Bassa Selim Jaron Löwenberg
Konstanze Nikola Hillebrand
Blonde Jasmin Delfs
Belmonte James Ley
Pedrillo Aaron Pegram
Osmin Ante Jerkunica, Peter Lobert
Vier Solostimmen Maria König, Rahel Haar, Frank Blümel, Andreas Heinze
Opera Singspiel in three acts
Libretto by Johann Gottlieb Stephanie from a text by Christoph Friedrich Bretzner to the operetta Belmont und Constanze oder Die Entführung aus dem Serail by Johann André
Performed in German with German and English supertitles
Premiere
15. April 2017
Conductor Leo Hussain
Inszenierung & Bühne Michiel Dijkema
Costume Design Claudia Damm, Jula Reindell
Lighting Design Fabio Antoci
Choir Bobin Kim
Dramaturgy Stefan Ulrich
Sächsischer Staatsopernchor Dresden
Sächsische Staatskapelle Dresden
Bassa Selim Jaron Löwenberg
Konstanze Nikola Hillebrand
Blonde Jasmin Delfs
Belmonte James Ley
Pedrillo Aaron Pegram
Osmin Ante Jerkunica, Peter Lobert
Vier Solostimmen Maria König, Rahel Haar, Frank Blümel, Andreas Heinze
“Mozart’s most popular opera is a deeply humane story of adventure with heavenly music.”
DIE ZAUBERFLÖTE
An opera in two acts, with one intermission
Libretto by Emanuel Schikaneder
Performed in German with German and English subtitles
James as Tamino
