Joseph Haydn: The Creation, Hob.XXI:2

Mari Eriksmoen, soprano
Patrick Grahl, tenor
Florian Boesch, bassbaritone

Collegium Vocale Gent
Orchestre des Champs Elysées
Philippe Herreweghe, conductor

Giuseppe Verdi: La Traviata

Hans Gratzer, director
Hans Gratzer, set design
Barbara Naujok, costumes
Frank Sobotta, lighting

Christoph Willibald Gluck: Orphée et Eurydice

Dmitry Korchak, Orphée
Andriana Chuchman, Eurydice
Marie-Sophie Pollak, L'Amour

Alessandro De Marchi, conductor
John Neumeier, staging | choreography | set | costumes | lighting concept
Heinrich Tröger, set design collaboration
Eberhard Friedrich, chorus 

Philharmonisches Staatsorchester
Chor der Hamburgischen Staatsoper

Eurydice is dead, a fact the man and artist Orpheus cannot accept. He demands her return. Indeed, the beauty of art and its power to transcend and destroy borders manage to render the weapons of Death and its guards ineffective – apparently, this is necessary. Eurydice is allowed to return to the living. While in the antique myth, Orpheus casts a longing, but deadly gaze back at his beloved walking behind him, in Gluck’s treatment this turns into Eurydice’s suspicion that he might not be looking at her because he no longer loves her. The proof she demands that this is not the case kills her a second time. Things, however, are seldom what they seem: Amor, Love, has staged the entire episode to test Orpheus, and Eurydice lives. The gods simply do not trust humans, as little as vice versa.

Wolfgang Amadeus Mozart: Don Giovanni, K. 527

Luca Micheletti, Don Giovanni (until February 21)
Luke Gabbedy, Don Giovanni (February 25, 27)
Shane Lowrencev, Leporello
Eleanor Lyons, Donna Anna
Jane Ede, Donna Elvira
Juan de Dios Mateos, Don Ottavio
Anna Dowsley, Zerlina
Richard Anderson, Masetto
Gennadi Dubinsky, Commendatore

Zhong Xu, conductor (until February 15)
Dane Lam, conductor (from February 17)
Sir David McVicar, director
Robert Jones, set & costume designer
David Finn, lighting designer
Andrew George, choreographer
Nigel Poulton, fight director

Opera Australia Chorus
Opera Australia Orchestra

Joseph Haydn: The Creation, Hob.XXI:2

Mari Eriksmoen, soprano
Patrick Grahl, tenor
Florian Boesch, bassbaritone

Collegium Vocale Gent
Orchestre des Champs Elysées
Philippe Herreweghe, conductor

Alban Berg: Lulu

Barbara Hannigan, Lulu
Anne Sofie von Otter, Gräfin Geschwitz
Jochen Schmeckenbecher, Dr. Schön | Jack
Charles Workman, Alwa
Ivan Ludlow, Ein Tierbändiger | Ein Athlet
Sergei Leiferkus, Schigolch
Peter Lodahl, Der Maler | Der Neger
Dietmar Kerschbaum, Der Prinz | Kammerdiener | Marquis
Martin Pawlowsky, Der Medizinalrat Dr. Goll | Polizist | Der Professor
Denis Velev, Theaterdirektor
Marc Bodnar, Auguste Artinelli
Liliana Benini, Bianetta Gazil
Begona Quinones, Madeleine de Marelle
Sasha Rau, Ludmilla Steinherz
Sylvana Seddig, Kadéga di Santa Croce

Veronika Eberle, Eine Violinistin
Bendix Dethleffsen, Ein Pianist

Kent Nagano, conductor
Christoph Marthaler, director
Anna Viebrock, stage and costume designer
Martin Gebhardt, light designer
Malte Ubenauf, dramaturgy

Philharmonisches Staatsorchester Hamburg

Anyone who loves Lulu is killed by that love. To men, Lulu is the instrument satisfying their sexual desires, yet irritatingly, she remains autonomous and intact throughout, which makes her seem even more attractive. Attractive because her libidinous rules are in seductive contrast with the moral mainstream. Everything she does, she does with her body, and men experience ecstatic happiness, ecstatic aggression, ecstatic death. Lulu fuels this mechanism. “If people have killed themselves for my sake, that does not diminish my value.” Both battlefields – love and money – are threatened by bad speculation. On the stock market shares are traded, rising and falling just like the value of erotic attraction. The final crash drags Lulu down with it. 

Awarded with the German Theatre Price DER FAUST 2017 and named „production of the year“ by the journal Opernwelt.
 

Ludwig van Beethoven: Symphony No. 6 in F major, Op. 68 „Pastorale“
Ludwig van Beethoven: Mass in C major, Op. 86 for soli, choir und orchestra 

Balthasar-Neumann-Chor & -Solisten
Balthasar-Neumann-Ensemble
conductor: Thomas Hengelbrock

Richard Wagner: Die Meistersinger von Nürnberg

Georg Zeppenfeld, Hans Sachs
Vitalij Kowaljow, Veit Pogner
Iurie Ciobanu, Kunz Vogelgesang
Günter Haumer, Konrad Nachtigall
Adrian Eröd, Sixtus Beckmesser
Oliver Zwarg, Fritz Kothner
Markus Miesenberger, Balthasar Zorn
Patrick Vogel, Ulrich Eisslinger
Roman Astakhov, Hans Foltz
Klaus Florian Vogt, Walther von Stolzing
Rupert Grössinger, Hermann Ortel
Christian Hübner, Hans Schwarz
Sebastian Kohlhepp, David
Christa Mayer, Magdalena

Sächsischer Staatsopernchor Dresden
Sächsische Staatsoper Dresden
Christian Thielemann, conductor
Jens-Daniel Herzog, stage director
Mathis Neidhardt, stage design
Sibylle Gädeke, costumes
Fabio Antoci, light
Ramses Sigl, choreography
Johann Casimir Eule, dramaturgy
Hans-Peter Frings, dramaturgy
Jörn Hinnerk Andresen, chorus master

Johann Strauß: Die Fledermaus

Norbert Ernst, Gabriel von Eisenstein
Anke Krabbe, Rosalinde
Stefan Heidemann, Gefängnisdirektor Frank
Maria Boiko, Prinz Orlofsky
Jussi Myllys, Alfred
Christoph Filler, Dr. Falke
Luis Fernando Piedra, Dr. Blind
Lavinia Dames, Adele
Helena Günther, Ida
Wolfgang Reinbacher, Frosch
Chin-A Hwang, Birgit Mühlram, Anna Pawlowa-Lichtenwald, Amanda Cruz-Portuondo, Marina Aikaterini Rouka, Chiara Jovy, Ewa Bienkowska, Sofia Klein-Herrero | female dancers

Benjamin Reiners, conductor
Axel Köhler, stage director
Frank Philipp Schlößmann, stage and costume designer
Volker Weinhart, lightning designer
Patrick Francis Chestnut, choir
Mirko Mahr, choreographer
Hella Bartnig, dramaturgy

Düsseldorfer Symphoniker
Chor der Deutschen Oper am Rhein

Georg Friedrich Händel: Orlando

Max Emmanuel Cenčić, Orlando
Sophie Karthäuser, Angelica
Delphine Galou, Medoro
Nuria Rial, Dorinda
Håvard Stensvold, Zoroastro

Martin Wåhlberg, conductor
Orkester Nord