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Fri
26
Sep
Season Opening Gala with Javier Camarena | Antwerp Symphony Orchestra
Concert
20:15 – 22:45
Pieces by Donizetti, Rossini, Verdi, Gounod and others
The Antwerp Symphony Orchestra opens the concert season in grand style with an evening of brilliance and operatic splendour. This year, the spotlight falls on Javier Camarena, the world-renowned Mexican tenor and Male Singer of the Year at the International Opera Awards. Known as the king of bel canto, Camarena enchants with arias by Donizetti, Rossini, Verdi, and Gounod, showcasing his unmatched vocal artistry and charisma. The orchestra complements his performance with dazzling overtures and intermezzi, delivering their signature elegance and flair. An unforgettable night of operatic magic, glamour, and musical fireworks awaits!
Javier Camarena, Tenor
Marcus Merkel, Conductor
Antwerp Symphony Orchestra
The Antwerp Symphony Orchestra opens the concert season in grand style with an evening of brilliance and operatic splendour. This year, the spotlight falls on Javier Camarena, the world-renowned Mexican tenor and Male Singer of the Year at the International Opera Awards. Known as the king of bel canto, Camarena enchants with arias by Donizetti, Rossini, Verdi, and Gounod, showcasing his unmatched vocal artistry and charisma. The orchestra complements his performance with dazzling overtures and intermezzi, delivering their signature elegance and flair. An unforgettable night of operatic magic, glamour, and musical fireworks awaits!
Javier Camarena, Tenor
Marcus Merkel, Conductor
Antwerp Symphony Orchestra
Sun
28
Sep
Gala with Jinxu Xiahou | Antwerp Symphony Orchestra in Amsterdam
Concert
11:00 – 13:30
With his warm timbre and impressive technique, Jinxu Xiahou has already enchanted audiences all over the world. Now he is on stage at The Concertgebouw in Amsterdam, together with the Antwerp Symphony Orchestra. Together, they will perform a selection of arias from works by Donizetti, Rossini and Verdi, among others. The Antwerp Symphony Orchestra complements these vocal delights with sparkling overtures and intermezzi, and assists the soloist with unparalleled class.
Jinxu Xiahou, Tenor
Marcus Merkel, Conductor
Antwerp Symphony Orchestra
Jinxu Xiahou, Tenor
Marcus Merkel, Conductor
Antwerp Symphony Orchestra
Fri
24
Oct
Wagner
Das Rheingold | Theater Koblenz
Opera
Premiere
19:00 – 21:30
Production: Wagner: Das Rheingold | Theater Koblenz
Richard Wagner conceived "Das Rheingold" as a prelude to his four-part stage festival "Der Ring des Nibelungen". The Rheingold lays the thematic foundations for Wagner's epochal drama of humanity: Longing and love are pitted against violence and destruction, political action against social necessity. The egomaniacal behaviour of the (super)powerful inevitably leads to the downfall of the whole world. With its cast of mermaids, dwarves, giants and gods, "Rheingold" is at times like a timeless fantasy epic.
In this new production of "Das Rheingold", the aesthetic forms of various virtual experiences and the digital adaptation of music and text developed at Koblenz Theatre in recent years will be used in combination. In addition, 20 audience members per performance will have the opportunity to experience the underwater world of the Rhine and the legendary Nibelheim in a special way using virtual reality in a specially created VR environment and become part of the production. In this way, these aesthetic worlds combine with the plot of the opera to create a Gesamtkunstwerk - perhaps entirely in the spirit of Richard Wagner.
Nico Wouterse, Wotan
Christoph Plessers, Donner
Piotr Gryniewicki, Froh
Tobias Haaks, Loge
Haruna Yamazaki, Fricka
Shinyoung Lee, Freia
Ezgi Kutlu, Erda
Lawson Anderson, Alberich
Nando Zickgraf, Mime
Tae-Oun Chung, Fasolt
Jongmin Lim, Fafner
Hannah Beutler, Woglinde
Michèle Silvestrini, Wellgunde
Danielle Rohr, Floßhilde
Marcus Merkel - Musical direction
Inga Schulte, Markus Dietze - Staging
Christof von Büren - Stage
Carolin Quirmbach - Costumes
Ulrich Stöcker - Creative Director (VR)
Britta Bischof - Dramaturgy (VR) and technical coordination
Andreas Wahlberg - Dramaturgy
In this new production of "Das Rheingold", the aesthetic forms of various virtual experiences and the digital adaptation of music and text developed at Koblenz Theatre in recent years will be used in combination. In addition, 20 audience members per performance will have the opportunity to experience the underwater world of the Rhine and the legendary Nibelheim in a special way using virtual reality in a specially created VR environment and become part of the production. In this way, these aesthetic worlds combine with the plot of the opera to create a Gesamtkunstwerk - perhaps entirely in the spirit of Richard Wagner.
Nico Wouterse, Wotan
Christoph Plessers, Donner
Piotr Gryniewicki, Froh
Tobias Haaks, Loge
Haruna Yamazaki, Fricka
Shinyoung Lee, Freia
Ezgi Kutlu, Erda
Lawson Anderson, Alberich
Nando Zickgraf, Mime
Tae-Oun Chung, Fasolt
Jongmin Lim, Fafner
Hannah Beutler, Woglinde
Michèle Silvestrini, Wellgunde
Danielle Rohr, Floßhilde
Marcus Merkel - Musical direction
Inga Schulte, Markus Dietze - Staging
Christof von Büren - Stage
Carolin Quirmbach - Costumes
Ulrich Stöcker - Creative Director (VR)
Britta Bischof - Dramaturgy (VR) and technical coordination
Andreas Wahlberg - Dramaturgy
Mon
27
Oct
Wagner
Das Rheingold | Theater Koblenz
Opera
2nd performance
19:00 – 21:30
Production: Wagner: Das Rheingold | Theater Koblenz
Richard Wagner conceived "Das Rheingold" as a prelude to his four-part stage festival "Der Ring des Nibelungen". The Rheingold lays the thematic foundations for Wagner's epochal drama of humanity: Longing and love are pitted against violence and destruction, political action against social necessity. The egomaniacal behaviour of the (super)powerful inevitably leads to the downfall of the whole world. With its cast of mermaids, dwarves, giants and gods, "Rheingold" is at times like a timeless fantasy epic.
In this new production of "Das Rheingold", the aesthetic forms of various virtual experiences and the digital adaptation of music and text developed at Koblenz Theatre in recent years will be used in combination. In addition, 20 audience members per performance will have the opportunity to experience the underwater world of the Rhine and the legendary Nibelheim in a special way using virtual reality in a specially created VR environment and become part of the production. In this way, these aesthetic worlds combine with the plot of the opera to create a Gesamtkunstwerk - perhaps entirely in the spirit of Richard Wagner.
Nico Wouterse, Wotan
Christoph Plessers, Donner
Piotr Gryniewicki, Froh
Tobias Haaks, Loge
Haruna Yamazaki, Fricka
Shinyoung Lee, Freia
Ezgi Kutlu, Erda
Lawson Anderson, Alberich
Nando Zickgraf, Mime
Tae-Oun Chung, Fasolt
Jongmin Lim, Fafner
Hannah Beutler, Woglinde
Michèle Silvestrini, Wellgunde
Danielle Rohr, Floßhilde
Marcus Merkel - Musical direction
Inga Schulte, Markus Dietze - Staging
Christof von Büren - Stage
Carolin Quirmbach - Costumes
Ulrich Stöcker - Creative Director (VR)
Britta Bischof - Dramaturgy (VR) and technical coordination
Andreas Wahlberg - Dramaturgy
In this new production of "Das Rheingold", the aesthetic forms of various virtual experiences and the digital adaptation of music and text developed at Koblenz Theatre in recent years will be used in combination. In addition, 20 audience members per performance will have the opportunity to experience the underwater world of the Rhine and the legendary Nibelheim in a special way using virtual reality in a specially created VR environment and become part of the production. In this way, these aesthetic worlds combine with the plot of the opera to create a Gesamtkunstwerk - perhaps entirely in the spirit of Richard Wagner.
Nico Wouterse, Wotan
Christoph Plessers, Donner
Piotr Gryniewicki, Froh
Tobias Haaks, Loge
Haruna Yamazaki, Fricka
Shinyoung Lee, Freia
Ezgi Kutlu, Erda
Lawson Anderson, Alberich
Nando Zickgraf, Mime
Tae-Oun Chung, Fasolt
Jongmin Lim, Fafner
Hannah Beutler, Woglinde
Michèle Silvestrini, Wellgunde
Danielle Rohr, Floßhilde
Marcus Merkel - Musical direction
Inga Schulte, Markus Dietze - Staging
Christof von Büren - Stage
Carolin Quirmbach - Costumes
Ulrich Stöcker - Creative Director (VR)
Britta Bischof - Dramaturgy (VR) and technical coordination
Andreas Wahlberg - Dramaturgy
Sun
02
Nov
Wagner
Das Rheingold | Theater Koblenz
Opera
2nd performance
18:00 – 20:30
Production: Wagner: Das Rheingold | Theater Koblenz
Richard Wagner conceived "Das Rheingold" as a prelude to his four-part stage festival "Der Ring des Nibelungen". The Rheingold lays the thematic foundations for Wagner's epochal drama of humanity: Longing and love are pitted against violence and destruction, political action against social necessity. The egomaniacal behaviour of the (super)powerful inevitably leads to the downfall of the whole world. With its cast of mermaids, dwarves, giants and gods, "Rheingold" is at times like a timeless fantasy epic.
In this new production of "Das Rheingold", the aesthetic forms of various virtual experiences and the digital adaptation of music and text developed at Koblenz Theatre in recent years will be used in combination. In addition, 20 audience members per performance will have the opportunity to experience the underwater world of the Rhine and the legendary Nibelheim in a special way using virtual reality in a specially created VR environment and become part of the production. In this way, these aesthetic worlds combine with the plot of the opera to create a Gesamtkunstwerk - perhaps entirely in the spirit of Richard Wagner.
Nico Wouterse, Wotan
Christoph Plessers, Donner
Piotr Gryniewicki, Froh
Tobias Haaks, Loge
Haruna Yamazaki, Fricka
Shinyoung Lee, Freia
Ezgi Kutlu, Erda
Lawson Anderson, Alberich
Nando Zickgraf, Mime
Tae-Oun Chung, Fasolt
Jongmin Lim, Fafner
Hannah Beutler, Woglinde
Michèle Silvestrini, Wellgunde
Danielle Rohr, Floßhilde
Marcus Merkel - Musical direction
Inga Schulte, Markus Dietze - Staging
Christof von Büren - Stage
Carolin Quirmbach - Costumes
Ulrich Stöcker - Creative Director (VR)
Britta Bischof - Dramaturgy (VR) and technical coordination
Andreas Wahlberg - Dramaturgy
In this new production of "Das Rheingold", the aesthetic forms of various virtual experiences and the digital adaptation of music and text developed at Koblenz Theatre in recent years will be used in combination. In addition, 20 audience members per performance will have the opportunity to experience the underwater world of the Rhine and the legendary Nibelheim in a special way using virtual reality in a specially created VR environment and become part of the production. In this way, these aesthetic worlds combine with the plot of the opera to create a Gesamtkunstwerk - perhaps entirely in the spirit of Richard Wagner.
Nico Wouterse, Wotan
Christoph Plessers, Donner
Piotr Gryniewicki, Froh
Tobias Haaks, Loge
Haruna Yamazaki, Fricka
Shinyoung Lee, Freia
Ezgi Kutlu, Erda
Lawson Anderson, Alberich
Nando Zickgraf, Mime
Tae-Oun Chung, Fasolt
Jongmin Lim, Fafner
Hannah Beutler, Woglinde
Michèle Silvestrini, Wellgunde
Danielle Rohr, Floßhilde
Marcus Merkel - Musical direction
Inga Schulte, Markus Dietze - Staging
Christof von Büren - Stage
Carolin Quirmbach - Costumes
Ulrich Stöcker - Creative Director (VR)
Britta Bischof - Dramaturgy (VR) and technical coordination
Andreas Wahlberg - Dramaturgy
Thu
06
Nov
Wagner
Das Rheingold | Theater Koblenz
Opera
4th performance
19:00 – 21:30
Production: Wagner: Das Rheingold | Theater Koblenz
Richard Wagner conceived "Das Rheingold" as a prelude to his four-part stage festival "Der Ring des Nibelungen". The Rheingold lays the thematic foundations for Wagner's epochal drama of humanity: Longing and love are pitted against violence and destruction, political action against social necessity. The egomaniacal behaviour of the (super)powerful inevitably leads to the downfall of the whole world. With its cast of mermaids, dwarves, giants and gods, "Rheingold" is at times like a timeless fantasy epic.
In this new production of "Das Rheingold", the aesthetic forms of various virtual experiences and the digital adaptation of music and text developed at Koblenz Theatre in recent years will be used in combination. In addition, 20 audience members per performance will have the opportunity to experience the underwater world of the Rhine and the legendary Nibelheim in a special way using virtual reality in a specially created VR environment and become part of the production. In this way, these aesthetic worlds combine with the plot of the opera to create a Gesamtkunstwerk - perhaps entirely in the spirit of Richard Wagner.
Nico Wouterse, Wotan
Christoph Plessers, Donner
Piotr Gryniewicki, Froh
Tobias Haaks, Loge
Haruna Yamazaki, Fricka
Shinyoung Lee, Freia
Ezgi Kutlu, Erda
Lawson Anderson, Alberich
Nando Zickgraf, Mime
Tae-Oun Chung, Fasolt
Jongmin Lim, Fafner
Hannah Beutler, Woglinde
Michèle Silvestrini, Wellgunde
Danielle Rohr, Floßhilde
Marcus Merkel - Musical direction
Inga Schulte, Markus Dietze - Staging
Christof von Büren - Stage
Carolin Quirmbach - Costumes
Ulrich Stöcker - Creative Director (VR)
Britta Bischof - Dramaturgy (VR) and technical coordination
Andreas Wahlberg - Dramaturgy
In this new production of "Das Rheingold", the aesthetic forms of various virtual experiences and the digital adaptation of music and text developed at Koblenz Theatre in recent years will be used in combination. In addition, 20 audience members per performance will have the opportunity to experience the underwater world of the Rhine and the legendary Nibelheim in a special way using virtual reality in a specially created VR environment and become part of the production. In this way, these aesthetic worlds combine with the plot of the opera to create a Gesamtkunstwerk - perhaps entirely in the spirit of Richard Wagner.
Nico Wouterse, Wotan
Christoph Plessers, Donner
Piotr Gryniewicki, Froh
Tobias Haaks, Loge
Haruna Yamazaki, Fricka
Shinyoung Lee, Freia
Ezgi Kutlu, Erda
Lawson Anderson, Alberich
Nando Zickgraf, Mime
Tae-Oun Chung, Fasolt
Jongmin Lim, Fafner
Hannah Beutler, Woglinde
Michèle Silvestrini, Wellgunde
Danielle Rohr, Floßhilde
Marcus Merkel - Musical direction
Inga Schulte, Markus Dietze - Staging
Christof von Büren - Stage
Carolin Quirmbach - Costumes
Ulrich Stöcker - Creative Director (VR)
Britta Bischof - Dramaturgy (VR) and technical coordination
Andreas Wahlberg - Dramaturgy
Fri
07
Nov
Wagner
Das Rheingold | Theater Koblenz
Opera
5th performance
19:00 – 21:30
Production: Wagner: Das Rheingold | Theater Koblenz
Richard Wagner conceived "Das Rheingold" as a prelude to his four-part stage festival "Der Ring des Nibelungen". The Rheingold lays the thematic foundations for Wagner's epochal drama of humanity: Longing and love are pitted against violence and destruction, political action against social necessity. The egomaniacal behaviour of the (super)powerful inevitably leads to the downfall of the whole world. With its cast of mermaids, dwarves, giants and gods, "Rheingold" is at times like a timeless fantasy epic.
In this new production of "Das Rheingold", the aesthetic forms of various virtual experiences and the digital adaptation of music and text developed at Koblenz Theatre in recent years will be used in combination. In addition, 20 audience members per performance will have the opportunity to experience the underwater world of the Rhine and the legendary Nibelheim in a special way using virtual reality in a specially created VR environment and become part of the production. In this way, these aesthetic worlds combine with the plot of the opera to create a Gesamtkunstwerk - perhaps entirely in the spirit of Richard Wagner.
Nico Wouterse, Wotan
Christoph Plessers, Donner
Piotr Gryniewicki, Froh
Tobias Haaks, Loge
Haruna Yamazaki, Fricka
Shinyoung Lee, Freia
Ezgi Kutlu, Erda
Lawson Anderson, Alberich
Nando Zickgraf, Mime
Tae-Oun Chung, Fasolt
Jongmin Lim, Fafner
Hannah Beutler, Woglinde
Michèle Silvestrini, Wellgunde
Danielle Rohr, Floßhilde
Marcus Merkel - Musical direction
Inga Schulte, Markus Dietze - Staging
Christof von Büren - Stage
Carolin Quirmbach - Costumes
Ulrich Stöcker - Creative Director (VR)
Britta Bischof - Dramaturgy (VR) and technical coordination
Andreas Wahlberg - Dramaturgy
In this new production of "Das Rheingold", the aesthetic forms of various virtual experiences and the digital adaptation of music and text developed at Koblenz Theatre in recent years will be used in combination. In addition, 20 audience members per performance will have the opportunity to experience the underwater world of the Rhine and the legendary Nibelheim in a special way using virtual reality in a specially created VR environment and become part of the production. In this way, these aesthetic worlds combine with the plot of the opera to create a Gesamtkunstwerk - perhaps entirely in the spirit of Richard Wagner.
Nico Wouterse, Wotan
Christoph Plessers, Donner
Piotr Gryniewicki, Froh
Tobias Haaks, Loge
Haruna Yamazaki, Fricka
Shinyoung Lee, Freia
Ezgi Kutlu, Erda
Lawson Anderson, Alberich
Nando Zickgraf, Mime
Tae-Oun Chung, Fasolt
Jongmin Lim, Fafner
Hannah Beutler, Woglinde
Michèle Silvestrini, Wellgunde
Danielle Rohr, Floßhilde
Marcus Merkel - Musical direction
Inga Schulte, Markus Dietze - Staging
Christof von Büren - Stage
Carolin Quirmbach - Costumes
Ulrich Stöcker - Creative Director (VR)
Britta Bischof - Dramaturgy (VR) and technical coordination
Andreas Wahlberg - Dramaturgy
Sun
09
Nov
Wagner
Das Rheingold | Theater Koblenz
Opera
6th performance
18:00 – 20:30
Production: Wagner: Das Rheingold | Theater Koblenz
Richard Wagner conceived "Das Rheingold" as a prelude to his four-part stage festival "Der Ring des Nibelungen". The Rheingold lays the thematic foundations for Wagner's epochal drama of humanity: Longing and love are pitted against violence and destruction, political action against social necessity. The egomaniacal behaviour of the (super)powerful inevitably leads to the downfall of the whole world. With its cast of mermaids, dwarves, giants and gods, "Rheingold" is at times like a timeless fantasy epic.
In this new production of "Das Rheingold", the aesthetic forms of various virtual experiences and the digital adaptation of music and text developed at Koblenz Theatre in recent years will be used in combination. In addition, 20 audience members per performance will have the opportunity to experience the underwater world of the Rhine and the legendary Nibelheim in a special way using virtual reality in a specially created VR environment and become part of the production. In this way, these aesthetic worlds combine with the plot of the opera to create a Gesamtkunstwerk - perhaps entirely in the spirit of Richard Wagner.
Nico Wouterse, Wotan
Christoph Plessers, Donner
Piotr Gryniewicki, Froh
Tobias Haaks, Loge
Haruna Yamazaki, Fricka
Shinyoung Lee, Freia
Ezgi Kutlu, Erda
Lawson Anderson, Alberich
Nando Zickgraf, Mime
Tae-Oun Chung, Fasolt
Jongmin Lim, Fafner
Hannah Beutler, Woglinde
Michèle Silvestrini, Wellgunde
Danielle Rohr, Floßhilde
Marcus Merkel - Musical direction
Inga Schulte, Markus Dietze - Staging
Christof von Büren - Stage
Carolin Quirmbach - Costumes
Ulrich Stöcker - Creative Director (VR)
Britta Bischof - Dramaturgy (VR) and technical coordination
Andreas Wahlberg - Dramaturgy
In this new production of "Das Rheingold", the aesthetic forms of various virtual experiences and the digital adaptation of music and text developed at Koblenz Theatre in recent years will be used in combination. In addition, 20 audience members per performance will have the opportunity to experience the underwater world of the Rhine and the legendary Nibelheim in a special way using virtual reality in a specially created VR environment and become part of the production. In this way, these aesthetic worlds combine with the plot of the opera to create a Gesamtkunstwerk - perhaps entirely in the spirit of Richard Wagner.
Nico Wouterse, Wotan
Christoph Plessers, Donner
Piotr Gryniewicki, Froh
Tobias Haaks, Loge
Haruna Yamazaki, Fricka
Shinyoung Lee, Freia
Ezgi Kutlu, Erda
Lawson Anderson, Alberich
Nando Zickgraf, Mime
Tae-Oun Chung, Fasolt
Jongmin Lim, Fafner
Hannah Beutler, Woglinde
Michèle Silvestrini, Wellgunde
Danielle Rohr, Floßhilde
Marcus Merkel - Musical direction
Inga Schulte, Markus Dietze - Staging
Christof von Büren - Stage
Carolin Quirmbach - Costumes
Ulrich Stöcker - Creative Director (VR)
Britta Bischof - Dramaturgy (VR) and technical coordination
Andreas Wahlberg - Dramaturgy
Wed
26
Nov
Gastspiel in Coesfeld | Jenaer Philharmonie
Opera
19:30 – 21:30
Programme
Gabriel Fauré:
"Pelléas et Mélisande", suite from the music to the play of the same name by Maurice Maeterlinck op. 80
Béla Bartók:
"A kékszakállú herceg vára" ("Bluebeard's Castle"), opera op. 11
(Concert performance in German language)
Performers
Margarita Vilsone, soprano (Judith)
Derrick Ballard, baritone (Bluebeard)
Jena Philharmonic Orchestra
Marcus Merkel, conductor
Gabriel Fauré:
"Pelléas et Mélisande", suite from the music to the play of the same name by Maurice Maeterlinck op. 80
Béla Bartók:
"A kékszakállú herceg vára" ("Bluebeard's Castle"), opera op. 11
(Concert performance in German language)
Performers
Margarita Vilsone, soprano (Judith)
Derrick Ballard, baritone (Bluebeard)
Jena Philharmonic Orchestra
Marcus Merkel, conductor
Fri
28
Nov
Freitagskonzert No. 2 | Jenaer Philharmonie
Opera
19:30 – 21:30
Programme
Gabriel Fauré:
"Pelléas et Mélisande", suite from the music to the play of the same name by Maurice Maeterlinck op. 80
Béla Bartók:
"A kékszakállú herceg vára" ("Bluebeard's Castle"), opera op. 11
(Concert performance in German language)
Performers
Margarita Vilsone, soprano (Judith)
Derrick Ballard, baritone (Bluebeard)
Jena Philharmonic Orchestra
Marcus Merkel, conductor
Gabriel Fauré:
"Pelléas et Mélisande", suite from the music to the play of the same name by Maurice Maeterlinck op. 80
Béla Bartók:
"A kékszakállú herceg vára" ("Bluebeard's Castle"), opera op. 11
(Concert performance in German language)
Performers
Margarita Vilsone, soprano (Judith)
Derrick Ballard, baritone (Bluebeard)
Jena Philharmonic Orchestra
Marcus Merkel, conductor
Wed
03
Dec
Wagner
Das Rheingold | Theater Koblenz
Opera
10th performance
19:00 – 21:30
Production: Wagner: Das Rheingold | Theater Koblenz
Richard Wagner conceived "Das Rheingold" as a prelude to his four-part stage festival "Der Ring des Nibelungen". The Rheingold lays the thematic foundations for Wagner's epochal drama of humanity: Longing and love are pitted against violence and destruction, political action against social necessity. The egomaniacal behaviour of the (super)powerful inevitably leads to the downfall of the whole world. With its cast of mermaids, dwarves, giants and gods, "Rheingold" is at times like a timeless fantasy epic.
In this new production of "Das Rheingold", the aesthetic forms of various virtual experiences and the digital adaptation of music and text developed at Koblenz Theatre in recent years will be used in combination. In addition, 20 audience members per performance will have the opportunity to experience the underwater world of the Rhine and the legendary Nibelheim in a special way using virtual reality in a specially created VR environment and become part of the production. In this way, these aesthetic worlds combine with the plot of the opera to create a Gesamtkunstwerk - perhaps entirely in the spirit of Richard Wagner.
Nico Wouterse, Wotan
Christoph Plessers, Donner
Piotr Gryniewicki, Froh
Tobias Haaks, Loge
Haruna Yamazaki, Fricka
Shinyoung Lee, Freia
Ezgi Kutlu, Erda
Lawson Anderson, Alberich
Nando Zickgraf, Mime
Tae-Oun Chung, Fasolt
Jongmin Lim, Fafner
Hannah Beutler, Woglinde
Michèle Silvestrini, Wellgunde
Danielle Rohr, Floßhilde
Marcus Merkel - Musical direction
Inga Schulte, Markus Dietze - Staging
Christof von Büren - Stage
Carolin Quirmbach - Costumes
Ulrich Stöcker - Creative Director (VR)
Britta Bischof - Dramaturgy (VR) and technical coordination
Andreas Wahlberg - Dramaturgy
In this new production of "Das Rheingold", the aesthetic forms of various virtual experiences and the digital adaptation of music and text developed at Koblenz Theatre in recent years will be used in combination. In addition, 20 audience members per performance will have the opportunity to experience the underwater world of the Rhine and the legendary Nibelheim in a special way using virtual reality in a specially created VR environment and become part of the production. In this way, these aesthetic worlds combine with the plot of the opera to create a Gesamtkunstwerk - perhaps entirely in the spirit of Richard Wagner.
Nico Wouterse, Wotan
Christoph Plessers, Donner
Piotr Gryniewicki, Froh
Tobias Haaks, Loge
Haruna Yamazaki, Fricka
Shinyoung Lee, Freia
Ezgi Kutlu, Erda
Lawson Anderson, Alberich
Nando Zickgraf, Mime
Tae-Oun Chung, Fasolt
Jongmin Lim, Fafner
Hannah Beutler, Woglinde
Michèle Silvestrini, Wellgunde
Danielle Rohr, Floßhilde
Marcus Merkel - Musical direction
Inga Schulte, Markus Dietze - Staging
Christof von Büren - Stage
Carolin Quirmbach - Costumes
Ulrich Stöcker - Creative Director (VR)
Britta Bischof - Dramaturgy (VR) and technical coordination
Andreas Wahlberg - Dramaturgy
Thu
04
Dec
Wagner
Das Rheingold | Theater Koblenz
Opera
11th performance
19:00 – 21:30
Production: Wagner: Das Rheingold | Theater Koblenz
Richard Wagner conceived "Das Rheingold" as a prelude to his four-part stage festival "Der Ring des Nibelungen". The Rheingold lays the thematic foundations for Wagner's epochal drama of humanity: Longing and love are pitted against violence and destruction, political action against social necessity. The egomaniacal behaviour of the (super)powerful inevitably leads to the downfall of the whole world. With its cast of mermaids, dwarves, giants and gods, "Rheingold" is at times like a timeless fantasy epic.
In this new production of "Das Rheingold", the aesthetic forms of various virtual experiences and the digital adaptation of music and text developed at Koblenz Theatre in recent years will be used in combination. In addition, 20 audience members per performance will have the opportunity to experience the underwater world of the Rhine and the legendary Nibelheim in a special way using virtual reality in a specially created VR environment and become part of the production. In this way, these aesthetic worlds combine with the plot of the opera to create a Gesamtkunstwerk - perhaps entirely in the spirit of Richard Wagner.
Nico Wouterse, Wotan
Christoph Plessers, Donner
Piotr Gryniewicki, Froh
Tobias Haaks, Loge
Haruna Yamazaki, Fricka
Shinyoung Lee, Freia
Ezgi Kutlu, Erda
Lawson Anderson, Alberich
Nando Zickgraf, Mime
Tae-Oun Chung, Fasolt
Jongmin Lim, Fafner
Hannah Beutler, Woglinde
Michèle Silvestrini, Wellgunde
Danielle Rohr, Floßhilde
Marcus Merkel - Musical direction
Inga Schulte, Markus Dietze - Staging
Christof von Büren - Stage
Carolin Quirmbach - Costumes
Ulrich Stöcker - Creative Director (VR)
Britta Bischof - Dramaturgy (VR) and technical coordination
Andreas Wahlberg - Dramaturgy
In this new production of "Das Rheingold", the aesthetic forms of various virtual experiences and the digital adaptation of music and text developed at Koblenz Theatre in recent years will be used in combination. In addition, 20 audience members per performance will have the opportunity to experience the underwater world of the Rhine and the legendary Nibelheim in a special way using virtual reality in a specially created VR environment and become part of the production. In this way, these aesthetic worlds combine with the plot of the opera to create a Gesamtkunstwerk - perhaps entirely in the spirit of Richard Wagner.
Nico Wouterse, Wotan
Christoph Plessers, Donner
Piotr Gryniewicki, Froh
Tobias Haaks, Loge
Haruna Yamazaki, Fricka
Shinyoung Lee, Freia
Ezgi Kutlu, Erda
Lawson Anderson, Alberich
Nando Zickgraf, Mime
Tae-Oun Chung, Fasolt
Jongmin Lim, Fafner
Hannah Beutler, Woglinde
Michèle Silvestrini, Wellgunde
Danielle Rohr, Floßhilde
Marcus Merkel - Musical direction
Inga Schulte, Markus Dietze - Staging
Christof von Büren - Stage
Carolin Quirmbach - Costumes
Ulrich Stöcker - Creative Director (VR)
Britta Bischof - Dramaturgy (VR) and technical coordination
Andreas Wahlberg - Dramaturgy
Sat
27
Dec
Strauß
Die Fledermaus – Semperoper Dresden
Operetta
19:00 – 22:00
Production: Strauß: Die Fledermaus
"Effervescent irony combined with a sparkling champagne mood to the sounds of the waltz."
Operetta in three acts
Text version after Carl Haffner and Richard Genée based on the vaudeville Le Réveillon by Henri Meilhac and Ludovic Halévy
In German with German and English surtitles
Gabriel von Eisenstein Christoph Pohl
Rosalinde Elissa Huber
Alfred Mario Lerchenberger
Prince Orlofsky Valerie Eickhoff
Adele Katrina Galka
Dr Falke Anton Beliaev
Frank Markus Marquardt
Dr Blind Gerald Hupach
Ida Cornelia Butz, Gundula Rosenkranz
Frog Wolfgang Stumph
Musical direction Marcus Merkel
Production Günter Krämer
Stage Gisbert Jäkel
Costumes Falk Bauer
Lighting Jan Seeger
Choreography Otto Pichler
Choir Jan Hoffmann
Saxon State Opera Choir Dresden
Saxon State Orchestra Dresden
Operetta in three acts
Text version after Carl Haffner and Richard Genée based on the vaudeville Le Réveillon by Henri Meilhac and Ludovic Halévy
In German with German and English surtitles
Gabriel von Eisenstein Christoph Pohl
Rosalinde Elissa Huber
Alfred Mario Lerchenberger
Prince Orlofsky Valerie Eickhoff
Adele Katrina Galka
Dr Falke Anton Beliaev
Frank Markus Marquardt
Dr Blind Gerald Hupach
Ida Cornelia Butz, Gundula Rosenkranz
Frog Wolfgang Stumph
Musical direction Marcus Merkel
Production Günter Krämer
Stage Gisbert Jäkel
Costumes Falk Bauer
Lighting Jan Seeger
Choreography Otto Pichler
Choir Jan Hoffmann
Saxon State Opera Choir Dresden
Saxon State Orchestra Dresden
Thu
01
Jan
Neujahrskonzert "È tutto amore" | Theater Koblenz
Operetta
17:00 – 20:00
"Love is the heartbeat of the whole universe" - in Giuseppe Verdi's "La Traviata", this is the world-explaining recognition of that powerful feeling we call love. There has always been an exceptionally happy relationship between the partners of music and love. The former comforts the latter or cheers her on, expressing her emotions in words and sounds. Love, in turn, returns these gestures by providing inspiration and material for musical masterpieces - and has done so since the beginning of time.
As we enter the year 2026, Koblenz Theatre and the Staatsorchester Rheinische Philharmonie invite you to a festive New Year's concert in homage to love - in all its guises. Whether sombre or effervescent, reciprocated or unheard: there is a suitable soundtrack for all facets of this most diverse and most sung-about of all emotions. In a programme that ranges from opera and operetta to musicals, chief conductor Marcus Merkel and soloists from Koblenz Theatre perform an impressive array of the most beautiful love songs and arias.
As presenter, artistic director Markus Dietze will accompany the audience through this homage to love in a witty and warm manner into the new, undescribed year.
As we enter the year 2026, Koblenz Theatre and the Staatsorchester Rheinische Philharmonie invite you to a festive New Year's concert in homage to love - in all its guises. Whether sombre or effervescent, reciprocated or unheard: there is a suitable soundtrack for all facets of this most diverse and most sung-about of all emotions. In a programme that ranges from opera and operetta to musicals, chief conductor Marcus Merkel and soloists from Koblenz Theatre perform an impressive array of the most beautiful love songs and arias.
As presenter, artistic director Markus Dietze will accompany the audience through this homage to love in a witty and warm manner into the new, undescribed year.
Fri
02
Jan
Strauß
Die Fledermaus – Semperoper Dresden
Operetta
19:00 – 22:00
Production: Strauß: Die Fledermaus
"Effervescent irony combined with a sparkling champagne mood to the sounds of the waltz."
Operetta in three acts
Text version after Carl Haffner and Richard Genée based on the vaudeville Le Réveillon by Henri Meilhac and Ludovic Halévy
In German with German and English surtitles
Gabriel von Eisenstein Christoph Pohl
Rosalinde Elissa Huber
Alfred Mario Lerchenberger
Prince Orlofsky Valerie Eickhoff
Adele Katrina Galka
Dr Falke Anton Beliaev
Frank Markus Marquardt
Dr Blind Gerald Hupach
Ida Cornelia Butz, Gundula Rosenkranz
Frog Wolfgang Stumph
Musical direction Marcus Merkel
Production Günter Krämer
Stage Gisbert Jäkel
Costumes Falk Bauer
Lighting Jan Seeger
Choreography Otto Pichler
Choir Jan Hoffmann
Saxon State Opera Choir Dresden
Saxon State Orchestra Dresden
Operetta in three acts
Text version after Carl Haffner and Richard Genée based on the vaudeville Le Réveillon by Henri Meilhac and Ludovic Halévy
In German with German and English surtitles
Gabriel von Eisenstein Christoph Pohl
Rosalinde Elissa Huber
Alfred Mario Lerchenberger
Prince Orlofsky Valerie Eickhoff
Adele Katrina Galka
Dr Falke Anton Beliaev
Frank Markus Marquardt
Dr Blind Gerald Hupach
Ida Cornelia Butz, Gundula Rosenkranz
Frog Wolfgang Stumph
Musical direction Marcus Merkel
Production Günter Krämer
Stage Gisbert Jäkel
Costumes Falk Bauer
Lighting Jan Seeger
Choreography Otto Pichler
Choir Jan Hoffmann
Saxon State Opera Choir Dresden
Saxon State Orchestra Dresden
Sat
03
Jan
Strauß
Die Fledermaus – Semperoper Dresden
Operetta
19:00 – 22:00
Production: Strauß: Die Fledermaus
"Effervescent irony combined with a sparkling champagne mood to the sounds of the waltz."
Operetta in three acts
Text version after Carl Haffner and Richard Genée based on the vaudeville Le Réveillon by Henri Meilhac and Ludovic Halévy
In German with German and English surtitles
Gabriel von Eisenstein Christoph Pohl
Rosalinde Elissa Huber
Alfred Mario Lerchenberger
Prince Orlofsky Valerie Eickhoff
Adele Katrina Galka
Dr Falke Anton Beliaev
Frank Markus Marquardt
Dr Blind Gerald Hupach
Ida Cornelia Butz, Gundula Rosenkranz
Frog Wolfgang Stumph
Musical direction Marcus Merkel
Production Günter Krämer
Stage Gisbert Jäkel
Costumes Falk Bauer
Lighting Jan Seeger
Choreography Otto Pichler
Choir Jan Hoffmann
Saxon State Opera Choir Dresden
Saxon State Orchestra Dresden
Operetta in three acts
Text version after Carl Haffner and Richard Genée based on the vaudeville Le Réveillon by Henri Meilhac and Ludovic Halévy
In German with German and English surtitles
Gabriel von Eisenstein Christoph Pohl
Rosalinde Elissa Huber
Alfred Mario Lerchenberger
Prince Orlofsky Valerie Eickhoff
Adele Katrina Galka
Dr Falke Anton Beliaev
Frank Markus Marquardt
Dr Blind Gerald Hupach
Ida Cornelia Butz, Gundula Rosenkranz
Frog Wolfgang Stumph
Musical direction Marcus Merkel
Production Günter Krämer
Stage Gisbert Jäkel
Costumes Falk Bauer
Lighting Jan Seeger
Choreography Otto Pichler
Choir Jan Hoffmann
Saxon State Opera Choir Dresden
Saxon State Orchestra Dresden
Fri
09
Jan
Strauß
Die Fledermaus – Semperoper Dresden
Operetta
19:00 – 22:00
Production: Strauß: Die Fledermaus
"Effervescent irony combined with a sparkling champagne mood to the sounds of the waltz."
Operetta in three acts
Text version after Carl Haffner and Richard Genée based on the vaudeville Le Réveillon by Henri Meilhac and Ludovic Halévy
In German with German and English surtitles
Gabriel von Eisenstein Christoph Pohl
Rosalinde Elissa Huber
Alfred Mario Lerchenberger
Prince Orlofsky Valerie Eickhoff
Adele Katrina Galka
Dr Falke Anton Beliaev
Frank Markus Marquardt
Dr Blind Gerald Hupach
Ida Cornelia Butz, Gundula Rosenkranz
Frog Wolfgang Stumph
Musical direction Marcus Merkel
Production Günter Krämer
Stage Gisbert Jäkel
Costumes Falk Bauer
Lighting Jan Seeger
Choreography Otto Pichler
Choir Jan Hoffmann
Saxon State Opera Choir Dresden
Saxon State Orchestra Dresden
Operetta in three acts
Text version after Carl Haffner and Richard Genée based on the vaudeville Le Réveillon by Henri Meilhac and Ludovic Halévy
In German with German and English surtitles
Gabriel von Eisenstein Christoph Pohl
Rosalinde Elissa Huber
Alfred Mario Lerchenberger
Prince Orlofsky Valerie Eickhoff
Adele Katrina Galka
Dr Falke Anton Beliaev
Frank Markus Marquardt
Dr Blind Gerald Hupach
Ida Cornelia Butz, Gundula Rosenkranz
Frog Wolfgang Stumph
Musical direction Marcus Merkel
Production Günter Krämer
Stage Gisbert Jäkel
Costumes Falk Bauer
Lighting Jan Seeger
Choreography Otto Pichler
Choir Jan Hoffmann
Saxon State Opera Choir Dresden
Saxon State Orchestra Dresden
Fri
16
Jan
Strauß
Die Fledermaus – Semperoper Dresden
Operetta
19:00 – 22:00
Production: Strauß: Die Fledermaus
"Effervescent irony combined with a sparkling champagne mood to the sounds of the waltz."
Operetta in three acts
Text version after Carl Haffner and Richard Genée based on the vaudeville Le Réveillon by Henri Meilhac and Ludovic Halévy
In German with German and English surtitles
Gabriel von Eisenstein Christoph Pohl
Rosalinde Elissa Huber
Alfred Mario Lerchenberger
Prince Orlofsky Valerie Eickhoff
Adele Katrina Galka
Dr Falke Anton Beliaev
Frank Markus Marquardt
Dr Blind Gerald Hupach
Ida Cornelia Butz, Gundula Rosenkranz
Frog Wolfgang Stumph
Musical direction Marcus Merkel
Production Günter Krämer
Stage Gisbert Jäkel
Costumes Falk Bauer
Lighting Jan Seeger
Choreography Otto Pichler
Choir Jan Hoffmann
Saxon State Opera Choir Dresden
Saxon State Orchestra Dresden
Operetta in three acts
Text version after Carl Haffner and Richard Genée based on the vaudeville Le Réveillon by Henri Meilhac and Ludovic Halévy
In German with German and English surtitles
Gabriel von Eisenstein Christoph Pohl
Rosalinde Elissa Huber
Alfred Mario Lerchenberger
Prince Orlofsky Valerie Eickhoff
Adele Katrina Galka
Dr Falke Anton Beliaev
Frank Markus Marquardt
Dr Blind Gerald Hupach
Ida Cornelia Butz, Gundula Rosenkranz
Frog Wolfgang Stumph
Musical direction Marcus Merkel
Production Günter Krämer
Stage Gisbert Jäkel
Costumes Falk Bauer
Lighting Jan Seeger
Choreography Otto Pichler
Choir Jan Hoffmann
Saxon State Opera Choir Dresden
Saxon State Orchestra Dresden
Sat
31
Jan
Massenet
Werther | Theater Koblenz
Opera
Premiere
19:00 – 21:30
Production: Massenet: Werther | Theater Koblenz
Drame lyrique by Jules Massenet - Poetry by Édouard Blau, Paul Milliet and Georges Hartmann after Johann Wolfgang von Goethe - In French with German surtitles
The young Werther falls in love with Charlotte, who promised her mother on her deathbed that she would marry Albert. Now Charlotte is torn between this promise and the feelings she develops for Werther. When Charlotte finally rejects him again after a moment of closeness, Werther sees no way out of his emotional distress: in a letter, he asks Albert for a pistol. When Charlotte learns of this, she rushes to Werther's flat in horror and finds him badly injured. Werther dies in her arms.
"These stirring scenes, these captivating images", Jules Massenet is said to have exclaimed when he came across "The Sorrows of Young Werther" in 1885. In Massenet's opera, Goethe's epistolary novel from 1774 is a "drama of pure humanity", as librettist Paul Milliet put it, in which Werther ends up desperately reciting Ossian's lyrics in Charlotte's arms, while she also confesses her love for him in the face of death and children sing Christmas carols in the distance. Through subtle orchestration on the one hand and far-reaching dramatic gestures on the other, Massenet manages to realise the basic idea of unanswered passionate love on the operatic stage.
The management team of the Koblenz production has already impressed several times in recent seasons in opera and drama productions with the sophisticated interweaving of the aesthetic levels of acting performance, elements of puppet theatre and the mirroring or magnification of the action by means of the live camera. The meticulous work at the interfaces of the various art forms is tailor-made for Jules Massenet's "Werther" and becomes an intense experience of sound, space and images for the audience.
The young Werther falls in love with Charlotte, who promised her mother on her deathbed that she would marry Albert. Now Charlotte is torn between this promise and the feelings she develops for Werther. When Charlotte finally rejects him again after a moment of closeness, Werther sees no way out of his emotional distress: in a letter, he asks Albert for a pistol. When Charlotte learns of this, she rushes to Werther's flat in horror and finds him badly injured. Werther dies in her arms.
"These stirring scenes, these captivating images", Jules Massenet is said to have exclaimed when he came across "The Sorrows of Young Werther" in 1885. In Massenet's opera, Goethe's epistolary novel from 1774 is a "drama of pure humanity", as librettist Paul Milliet put it, in which Werther ends up desperately reciting Ossian's lyrics in Charlotte's arms, while she also confesses her love for him in the face of death and children sing Christmas carols in the distance. Through subtle orchestration on the one hand and far-reaching dramatic gestures on the other, Massenet manages to realise the basic idea of unanswered passionate love on the operatic stage.
The management team of the Koblenz production has already impressed several times in recent seasons in opera and drama productions with the sophisticated interweaving of the aesthetic levels of acting performance, elements of puppet theatre and the mirroring or magnification of the action by means of the live camera. The meticulous work at the interfaces of the various art forms is tailor-made for Jules Massenet's "Werther" and becomes an intense experience of sound, space and images for the audience.
Thu
12
Feb
Massenet
Werther | Theater Koblenz
Opera
4th performance
19:00 – 21:30
Production: Massenet: Werther | Theater Koblenz
Drame lyrique by Jules Massenet - Poetry by Édouard Blau, Paul Milliet and Georges Hartmann after Johann Wolfgang von Goethe - In French with German surtitles
The young Werther falls in love with Charlotte, who promised her mother on her deathbed that she would marry Albert. Now Charlotte is torn between this promise and the feelings she develops for Werther. When Charlotte finally rejects him again after a moment of closeness, Werther sees no way out of his emotional distress: in a letter, he asks Albert for a pistol. When Charlotte learns of this, she rushes to Werther's flat in horror and finds him badly injured. Werther dies in her arms.
"These stirring scenes, these captivating images", Jules Massenet is said to have exclaimed when he came across "The Sorrows of Young Werther" in 1885. In Massenet's opera, Goethe's epistolary novel from 1774 is a "drama of pure humanity", as librettist Paul Milliet put it, in which Werther ends up desperately reciting Ossian's lyrics in Charlotte's arms, while she also confesses her love for him in the face of death and children sing Christmas carols in the distance. Through subtle orchestration on the one hand and far-reaching dramatic gestures on the other, Massenet manages to realise the basic idea of unanswered passionate love on the operatic stage.
The management team of the Koblenz production has already impressed several times in recent seasons in opera and drama productions with the sophisticated interweaving of the aesthetic levels of acting performance, elements of puppet theatre and the mirroring or magnification of the action by means of the live camera. The meticulous work at the interfaces of the various art forms is tailor-made for Jules Massenet's "Werther" and becomes an intense experience of sound, space and images for the audience.
The young Werther falls in love with Charlotte, who promised her mother on her deathbed that she would marry Albert. Now Charlotte is torn between this promise and the feelings she develops for Werther. When Charlotte finally rejects him again after a moment of closeness, Werther sees no way out of his emotional distress: in a letter, he asks Albert for a pistol. When Charlotte learns of this, she rushes to Werther's flat in horror and finds him badly injured. Werther dies in her arms.
"These stirring scenes, these captivating images", Jules Massenet is said to have exclaimed when he came across "The Sorrows of Young Werther" in 1885. In Massenet's opera, Goethe's epistolary novel from 1774 is a "drama of pure humanity", as librettist Paul Milliet put it, in which Werther ends up desperately reciting Ossian's lyrics in Charlotte's arms, while she also confesses her love for him in the face of death and children sing Christmas carols in the distance. Through subtle orchestration on the one hand and far-reaching dramatic gestures on the other, Massenet manages to realise the basic idea of unanswered passionate love on the operatic stage.
The management team of the Koblenz production has already impressed several times in recent seasons in opera and drama productions with the sophisticated interweaving of the aesthetic levels of acting performance, elements of puppet theatre and the mirroring or magnification of the action by means of the live camera. The meticulous work at the interfaces of the various art forms is tailor-made for Jules Massenet's "Werther" and becomes an intense experience of sound, space and images for the audience.
Sat
14
Feb
Massenet
Werther | Theater Koblenz
Opera
5th performance
19:00 – 21:30
Production: Massenet: Werther | Theater Koblenz
Drame lyrique by Jules Massenet - Poetry by Édouard Blau, Paul Milliet and Georges Hartmann after Johann Wolfgang von Goethe - In French with German surtitles
The young Werther falls in love with Charlotte, who promised her mother on her deathbed that she would marry Albert. Now Charlotte is torn between this promise and the feelings she develops for Werther. When Charlotte finally rejects him again after a moment of closeness, Werther sees no way out of his emotional distress: in a letter, he asks Albert for a pistol. When Charlotte learns of this, she rushes to Werther's flat in horror and finds him badly injured. Werther dies in her arms.
"These stirring scenes, these captivating images", Jules Massenet is said to have exclaimed when he came across "The Sorrows of Young Werther" in 1885. In Massenet's opera, Goethe's epistolary novel from 1774 is a "drama of pure humanity", as librettist Paul Milliet put it, in which Werther ends up desperately reciting Ossian's lyrics in Charlotte's arms, while she also confesses her love for him in the face of death and children sing Christmas carols in the distance. Through subtle orchestration on the one hand and far-reaching dramatic gestures on the other, Massenet manages to realise the basic idea of unanswered passionate love on the operatic stage.
The management team of the Koblenz production has already impressed several times in recent seasons in opera and drama productions with the sophisticated interweaving of the aesthetic levels of acting performance, elements of puppet theatre and the mirroring or magnification of the action by means of the live camera. The meticulous work at the interfaces of the various art forms is tailor-made for Jules Massenet's "Werther" and becomes an intense experience of sound, space and images for the audience.
The young Werther falls in love with Charlotte, who promised her mother on her deathbed that she would marry Albert. Now Charlotte is torn between this promise and the feelings she develops for Werther. When Charlotte finally rejects him again after a moment of closeness, Werther sees no way out of his emotional distress: in a letter, he asks Albert for a pistol. When Charlotte learns of this, she rushes to Werther's flat in horror and finds him badly injured. Werther dies in her arms.
"These stirring scenes, these captivating images", Jules Massenet is said to have exclaimed when he came across "The Sorrows of Young Werther" in 1885. In Massenet's opera, Goethe's epistolary novel from 1774 is a "drama of pure humanity", as librettist Paul Milliet put it, in which Werther ends up desperately reciting Ossian's lyrics in Charlotte's arms, while she also confesses her love for him in the face of death and children sing Christmas carols in the distance. Through subtle orchestration on the one hand and far-reaching dramatic gestures on the other, Massenet manages to realise the basic idea of unanswered passionate love on the operatic stage.
The management team of the Koblenz production has already impressed several times in recent seasons in opera and drama productions with the sophisticated interweaving of the aesthetic levels of acting performance, elements of puppet theatre and the mirroring or magnification of the action by means of the live camera. The meticulous work at the interfaces of the various art forms is tailor-made for Jules Massenet's "Werther" and becomes an intense experience of sound, space and images for the audience.
Sun
01
Mar
Massenet
Werther | Theater Koblenz
Opera
7th performance
19:00 – 21:30
Production: Massenet: Werther | Theater Koblenz
Drame lyrique by Jules Massenet - Poetry by Édouard Blau, Paul Milliet and Georges Hartmann after Johann Wolfgang von Goethe - In French with German surtitles
The young Werther falls in love with Charlotte, who promised her mother on her deathbed that she would marry Albert. Now Charlotte is torn between this promise and the feelings she develops for Werther. When Charlotte finally rejects him again after a moment of closeness, Werther sees no way out of his emotional distress: in a letter, he asks Albert for a pistol. When Charlotte learns of this, she rushes to Werther's flat in horror and finds him badly injured. Werther dies in her arms.
"These stirring scenes, these captivating images", Jules Massenet is said to have exclaimed when he came across "The Sorrows of Young Werther" in 1885. In Massenet's opera, Goethe's epistolary novel from 1774 is a "drama of pure humanity", as librettist Paul Milliet put it, in which Werther ends up desperately reciting Ossian's lyrics in Charlotte's arms, while she also confesses her love for him in the face of death and children sing Christmas carols in the distance. Through subtle orchestration on the one hand and far-reaching dramatic gestures on the other, Massenet manages to realise the basic idea of unanswered passionate love on the operatic stage.
The management team of the Koblenz production has already impressed several times in recent seasons in opera and drama productions with the sophisticated interweaving of the aesthetic levels of acting performance, elements of puppet theatre and the mirroring or magnification of the action by means of the live camera. The meticulous work at the interfaces of the various art forms is tailor-made for Jules Massenet's "Werther" and becomes an intense experience of sound, space and images for the audience.
The young Werther falls in love with Charlotte, who promised her mother on her deathbed that she would marry Albert. Now Charlotte is torn between this promise and the feelings she develops for Werther. When Charlotte finally rejects him again after a moment of closeness, Werther sees no way out of his emotional distress: in a letter, he asks Albert for a pistol. When Charlotte learns of this, she rushes to Werther's flat in horror and finds him badly injured. Werther dies in her arms.
"These stirring scenes, these captivating images", Jules Massenet is said to have exclaimed when he came across "The Sorrows of Young Werther" in 1885. In Massenet's opera, Goethe's epistolary novel from 1774 is a "drama of pure humanity", as librettist Paul Milliet put it, in which Werther ends up desperately reciting Ossian's lyrics in Charlotte's arms, while she also confesses her love for him in the face of death and children sing Christmas carols in the distance. Through subtle orchestration on the one hand and far-reaching dramatic gestures on the other, Massenet manages to realise the basic idea of unanswered passionate love on the operatic stage.
The management team of the Koblenz production has already impressed several times in recent seasons in opera and drama productions with the sophisticated interweaving of the aesthetic levels of acting performance, elements of puppet theatre and the mirroring or magnification of the action by means of the live camera. The meticulous work at the interfaces of the various art forms is tailor-made for Jules Massenet's "Werther" and becomes an intense experience of sound, space and images for the audience.
Tue
03
Mar
Massenet
Werther | Theater Koblenz
Opera
8th performance
19:00 – 21:30
Production: Massenet: Werther | Theater Koblenz
Drame lyrique by Jules Massenet - Poetry by Édouard Blau, Paul Milliet and Georges Hartmann after Johann Wolfgang von Goethe - In French with German surtitles
The young Werther falls in love with Charlotte, who promised her mother on her deathbed that she would marry Albert. Now Charlotte is torn between this promise and the feelings she develops for Werther. When Charlotte finally rejects him again after a moment of closeness, Werther sees no way out of his emotional distress: in a letter, he asks Albert for a pistol. When Charlotte learns of this, she rushes to Werther's flat in horror and finds him badly injured. Werther dies in her arms.
"These stirring scenes, these captivating images", Jules Massenet is said to have exclaimed when he came across "The Sorrows of Young Werther" in 1885. In Massenet's opera, Goethe's epistolary novel from 1774 is a "drama of pure humanity", as librettist Paul Milliet put it, in which Werther ends up desperately reciting Ossian's lyrics in Charlotte's arms, while she also confesses her love for him in the face of death and children sing Christmas carols in the distance. Through subtle orchestration on the one hand and far-reaching dramatic gestures on the other, Massenet manages to realise the basic idea of unanswered passionate love on the operatic stage.
The management team of the Koblenz production has already impressed several times in recent seasons in opera and drama productions with the sophisticated interweaving of the aesthetic levels of acting performance, elements of puppet theatre and the mirroring or magnification of the action by means of the live camera. The meticulous work at the interfaces of the various art forms is tailor-made for Jules Massenet's "Werther" and becomes an intense experience of sound, space and images for the audience.
The young Werther falls in love with Charlotte, who promised her mother on her deathbed that she would marry Albert. Now Charlotte is torn between this promise and the feelings she develops for Werther. When Charlotte finally rejects him again after a moment of closeness, Werther sees no way out of his emotional distress: in a letter, he asks Albert for a pistol. When Charlotte learns of this, she rushes to Werther's flat in horror and finds him badly injured. Werther dies in her arms.
"These stirring scenes, these captivating images", Jules Massenet is said to have exclaimed when he came across "The Sorrows of Young Werther" in 1885. In Massenet's opera, Goethe's epistolary novel from 1774 is a "drama of pure humanity", as librettist Paul Milliet put it, in which Werther ends up desperately reciting Ossian's lyrics in Charlotte's arms, while she also confesses her love for him in the face of death and children sing Christmas carols in the distance. Through subtle orchestration on the one hand and far-reaching dramatic gestures on the other, Massenet manages to realise the basic idea of unanswered passionate love on the operatic stage.
The management team of the Koblenz production has already impressed several times in recent seasons in opera and drama productions with the sophisticated interweaving of the aesthetic levels of acting performance, elements of puppet theatre and the mirroring or magnification of the action by means of the live camera. The meticulous work at the interfaces of the various art forms is tailor-made for Jules Massenet's "Werther" and becomes an intense experience of sound, space and images for the audience.
Thu
05
Mar
Massenet
Werther | Theater Koblenz
Opera
9th performance
19:00 – 21:30
Production: Massenet: Werther | Theater Koblenz
Drame lyrique by Jules Massenet - Poetry by Édouard Blau, Paul Milliet and Georges Hartmann after Johann Wolfgang von Goethe - In French with German surtitles
The young Werther falls in love with Charlotte, who promised her mother on her deathbed that she would marry Albert. Now Charlotte is torn between this promise and the feelings she develops for Werther. When Charlotte finally rejects him again after a moment of closeness, Werther sees no way out of his emotional distress: in a letter, he asks Albert for a pistol. When Charlotte learns of this, she rushes to Werther's flat in horror and finds him badly injured. Werther dies in her arms.
"These stirring scenes, these captivating images", Jules Massenet is said to have exclaimed when he came across "The Sorrows of Young Werther" in 1885. In Massenet's opera, Goethe's epistolary novel from 1774 is a "drama of pure humanity", as librettist Paul Milliet put it, in which Werther ends up desperately reciting Ossian's lyrics in Charlotte's arms, while she also confesses her love for him in the face of death and children sing Christmas carols in the distance. Through subtle orchestration on the one hand and far-reaching dramatic gestures on the other, Massenet manages to realise the basic idea of unanswered passionate love on the operatic stage.
The management team of the Koblenz production has already impressed several times in recent seasons in opera and drama productions with the sophisticated interweaving of the aesthetic levels of acting performance, elements of puppet theatre and the mirroring or magnification of the action by means of the live camera. The meticulous work at the interfaces of the various art forms is tailor-made for Jules Massenet's "Werther" and becomes an intense experience of sound, space and images for the audience.
The young Werther falls in love with Charlotte, who promised her mother on her deathbed that she would marry Albert. Now Charlotte is torn between this promise and the feelings she develops for Werther. When Charlotte finally rejects him again after a moment of closeness, Werther sees no way out of his emotional distress: in a letter, he asks Albert for a pistol. When Charlotte learns of this, she rushes to Werther's flat in horror and finds him badly injured. Werther dies in her arms.
"These stirring scenes, these captivating images", Jules Massenet is said to have exclaimed when he came across "The Sorrows of Young Werther" in 1885. In Massenet's opera, Goethe's epistolary novel from 1774 is a "drama of pure humanity", as librettist Paul Milliet put it, in which Werther ends up desperately reciting Ossian's lyrics in Charlotte's arms, while she also confesses her love for him in the face of death and children sing Christmas carols in the distance. Through subtle orchestration on the one hand and far-reaching dramatic gestures on the other, Massenet manages to realise the basic idea of unanswered passionate love on the operatic stage.
The management team of the Koblenz production has already impressed several times in recent seasons in opera and drama productions with the sophisticated interweaving of the aesthetic levels of acting performance, elements of puppet theatre and the mirroring or magnification of the action by means of the live camera. The meticulous work at the interfaces of the various art forms is tailor-made for Jules Massenet's "Werther" and becomes an intense experience of sound, space and images for the audience.
Sun
08
Mar
Mozart
Don Giovanni | Theater Erfurt
Other
15:00 – 18:00
Dramma giocoso in two acts
Libretto by Lorenzo da Ponte
First performed in Prague 1787
In Italian with German surtitles
Libretto by Lorenzo da Ponte
First performed in Prague 1787
In Italian with German surtitles
Thu
12
Mar
7. Sinfoniekonzert am Theater Erfurt
Concert
19:30 – 21:30
Production: 7. Sinfoniekonzert am Theater Erfurt
Camille Pépin: Les Eaux célestes
Wolfgang Amadeus Mozart: Symphony No. 38 in D major KV 504 "Prague"
Béla Bartók: Romanian Folk Dances for small orchestra Sz. 68 BB 76
Johannes Brahms: Concerto for Piano and Orchestra No. 2 in B flat major op. 83
Musical direction / Marcus Merkel
Piano / Markus Becker
Erfurt Philharmonic Orchestra
Wolfgang Amadeus Mozart: Symphony No. 38 in D major KV 504 "Prague"
Béla Bartók: Romanian Folk Dances for small orchestra Sz. 68 BB 76
Johannes Brahms: Concerto for Piano and Orchestra No. 2 in B flat major op. 83
Musical direction / Marcus Merkel
Piano / Markus Becker
Erfurt Philharmonic Orchestra
Fri
13
Mar
7. Sinfoniekonzert am Theater Erfurt
Concert
19:30 – 21:30
Production: 7. Sinfoniekonzert am Theater Erfurt
Camille Pépin: Les Eaux célestes
Wolfgang Amadeus Mozart: Symphony No. 38 in D major KV 504 "Prague"
Béla Bartók: Romanian Folk Dances for small orchestra Sz. 68 BB 76
Johannes Brahms: Concerto for Piano and Orchestra No. 2 in B flat major op. 83
Musical direction / Marcus Merkel
Piano / Markus Becker
Erfurt Philharmonic Orchestra
Wolfgang Amadeus Mozart: Symphony No. 38 in D major KV 504 "Prague"
Béla Bartók: Romanian Folk Dances for small orchestra Sz. 68 BB 76
Johannes Brahms: Concerto for Piano and Orchestra No. 2 in B flat major op. 83
Musical direction / Marcus Merkel
Piano / Markus Becker
Erfurt Philharmonic Orchestra
Sat
21
Mar
Massenet
Werther | Theater Koblenz
Opera
11th performance
19:00 – 21:30
Production: Massenet: Werther | Theater Koblenz
Drame lyrique by Jules Massenet - Poetry by Édouard Blau, Paul Milliet and Georges Hartmann after Johann Wolfgang von Goethe - In French with German surtitles
The young Werther falls in love with Charlotte, who promised her mother on her deathbed that she would marry Albert. Now Charlotte is torn between this promise and the feelings she develops for Werther. When Charlotte finally rejects him again after a moment of closeness, Werther sees no way out of his emotional distress: in a letter, he asks Albert for a pistol. When Charlotte learns of this, she rushes to Werther's flat in horror and finds him badly injured. Werther dies in her arms.
"These stirring scenes, these captivating images", Jules Massenet is said to have exclaimed when he came across "The Sorrows of Young Werther" in 1885. In Massenet's opera, Goethe's epistolary novel from 1774 is a "drama of pure humanity", as librettist Paul Milliet put it, in which Werther ends up desperately reciting Ossian's lyrics in Charlotte's arms, while she also confesses her love for him in the face of death and children sing Christmas carols in the distance. Through subtle orchestration on the one hand and far-reaching dramatic gestures on the other, Massenet manages to realise the basic idea of unanswered passionate love on the operatic stage.
The management team of the Koblenz production has already impressed several times in recent seasons in opera and drama productions with the sophisticated interweaving of the aesthetic levels of acting performance, elements of puppet theatre and the mirroring or magnification of the action by means of the live camera. The meticulous work at the interfaces of the various art forms is tailor-made for Jules Massenet's "Werther" and becomes an intense experience of sound, space and images for the audience.
The young Werther falls in love with Charlotte, who promised her mother on her deathbed that she would marry Albert. Now Charlotte is torn between this promise and the feelings she develops for Werther. When Charlotte finally rejects him again after a moment of closeness, Werther sees no way out of his emotional distress: in a letter, he asks Albert for a pistol. When Charlotte learns of this, she rushes to Werther's flat in horror and finds him badly injured. Werther dies in her arms.
"These stirring scenes, these captivating images", Jules Massenet is said to have exclaimed when he came across "The Sorrows of Young Werther" in 1885. In Massenet's opera, Goethe's epistolary novel from 1774 is a "drama of pure humanity", as librettist Paul Milliet put it, in which Werther ends up desperately reciting Ossian's lyrics in Charlotte's arms, while she also confesses her love for him in the face of death and children sing Christmas carols in the distance. Through subtle orchestration on the one hand and far-reaching dramatic gestures on the other, Massenet manages to realise the basic idea of unanswered passionate love on the operatic stage.
The management team of the Koblenz production has already impressed several times in recent seasons in opera and drama productions with the sophisticated interweaving of the aesthetic levels of acting performance, elements of puppet theatre and the mirroring or magnification of the action by means of the live camera. The meticulous work at the interfaces of the various art forms is tailor-made for Jules Massenet's "Werther" and becomes an intense experience of sound, space and images for the audience.
Fri
10
Apr
Massenet
Werther | Theater Koblenz
Opera
13th performance
19:00 – 21:30
Production: Massenet: Werther | Theater Koblenz
Drame lyrique by Jules Massenet - Poetry by Édouard Blau, Paul Milliet and Georges Hartmann after Johann Wolfgang von Goethe - In French with German surtitles
The young Werther falls in love with Charlotte, who promised her mother on her deathbed that she would marry Albert. Now Charlotte is torn between this promise and the feelings she develops for Werther. When Charlotte finally rejects him again after a moment of closeness, Werther sees no way out of his emotional distress: in a letter, he asks Albert for a pistol. When Charlotte learns of this, she rushes to Werther's flat in horror and finds him badly injured. Werther dies in her arms.
"These stirring scenes, these captivating images", Jules Massenet is said to have exclaimed when he came across "The Sorrows of Young Werther" in 1885. In Massenet's opera, Goethe's epistolary novel from 1774 is a "drama of pure humanity", as librettist Paul Milliet put it, in which Werther ends up desperately reciting Ossian's lyrics in Charlotte's arms, while she also confesses her love for him in the face of death and children sing Christmas carols in the distance. Through subtle orchestration on the one hand and far-reaching dramatic gestures on the other, Massenet manages to realise the basic idea of unanswered passionate love on the operatic stage.
The management team of the Koblenz production has already impressed several times in recent seasons in opera and drama productions with the sophisticated interweaving of the aesthetic levels of acting performance, elements of puppet theatre and the mirroring or magnification of the action by means of the live camera. The meticulous work at the interfaces of the various art forms is tailor-made for Jules Massenet's "Werther" and becomes an intense experience of sound, space and images for the audience.
The young Werther falls in love with Charlotte, who promised her mother on her deathbed that she would marry Albert. Now Charlotte is torn between this promise and the feelings she develops for Werther. When Charlotte finally rejects him again after a moment of closeness, Werther sees no way out of his emotional distress: in a letter, he asks Albert for a pistol. When Charlotte learns of this, she rushes to Werther's flat in horror and finds him badly injured. Werther dies in her arms.
"These stirring scenes, these captivating images", Jules Massenet is said to have exclaimed when he came across "The Sorrows of Young Werther" in 1885. In Massenet's opera, Goethe's epistolary novel from 1774 is a "drama of pure humanity", as librettist Paul Milliet put it, in which Werther ends up desperately reciting Ossian's lyrics in Charlotte's arms, while she also confesses her love for him in the face of death and children sing Christmas carols in the distance. Through subtle orchestration on the one hand and far-reaching dramatic gestures on the other, Massenet manages to realise the basic idea of unanswered passionate love on the operatic stage.
The management team of the Koblenz production has already impressed several times in recent seasons in opera and drama productions with the sophisticated interweaving of the aesthetic levels of acting performance, elements of puppet theatre and the mirroring or magnification of the action by means of the live camera. The meticulous work at the interfaces of the various art forms is tailor-made for Jules Massenet's "Werther" and becomes an intense experience of sound, space and images for the audience.
Wed
13
May
AK Classics IV | Bruckner Orchester Linz
Concert
19:00 – 21:30
The conductor Ingo Ingensand is closely associated with the AK Classics concerts. He has conducted numerous concerts. In 2010, his first symphony was premiered with the Bruckner Orchestra Linz at AK Classics. At the time, the work was combined with Antonín Dvořák's 7th Symphony. Independently of this, the young, up-and-coming conductor chose this work by chance to combine it with the world premiere of Ingensand's Second Symphony. A nice coincidence, we think. Along with Brahms, Bruckner and Tchaikovsky, Dvořák is considered one of the greatest symphonists of the Romantic period. His "Symphony from the New World" is a well-known jewel in the concert repertoire. However, his Seventh is in no way inferior to its sister and is equally a testament to the genius of the Czech composer.
Ingo Ingensand
Symphony No. 2, op. 20
Antonín Dvořák
Symphony No. 7 in D minor, op. 70
Bruckner Orchestra Linz
Marcus Merkel | Conductor
Ingo Ingensand
Symphony No. 2, op. 20
Antonín Dvořák
Symphony No. 7 in D minor, op. 70
Bruckner Orchestra Linz
Marcus Merkel | Conductor
