Sep
28
to Jan 17

STAATSTHEATER WIESBADEN | ROSINA | IL BARBIERE DI SIVIGLIA

Musikalische Leitung Holger Reinhardt
Inszenierung Nikolaus Habjan und Philomena Grütter
Bühne Jakob Brossmann
Kostüme Denise Heschl
Puppencoach Manuela Linshalm
Chor Albert Horne

Performances will take place in the Großes Haus of the Staatstheater Wiesbaden on September 28, November 30, January 3, and January 17.

Information

Gioachino Rossini (1792 – 1868)
Oper buffa in zwei Akten
In italienischer Sprache mit deutschen Übertiteln.

Libretto von Cesare Sterbini, nach »Le barbier de Séville«
von Pierre Augustin Caron de Beaumarchais
Uraufführung 1816 in Rom

Eine Produktion des Theater Basel

Gioachino Rossini (1792 – 1868)
Oper buffa in two acts
In Italian with German subtitles

Libretto by Cesare Sterbini, after “Le barbier de Séville”
by Pierre Augustin Caron de Beaumarchais
First performed in Rome in 1816

A production of Theater Basel

Die wildgewordenen Klappmaulpuppen von Puppenspiel-Ikone Nikolaus Habjan erobern die Bühne! In seiner gefeierten Inszenierung vom Theater Basel werden alle in das rasante, lustige und manchmal düster-absurde Verwirrspiel um den Barbier Figaro gezogen. Den Puppen entkommt niemand – bis zum heiteren Happy End. Eine Komödie für Familien ebenso wie für einen guten Abend unter Freunden.

Iconic puppeteer Nikolaus Habjan's wild-eyed puppets conquer the stage! In his acclaimed production at Theater Basel, everyone is drawn into the fast-paced, funny and sometimes darkly absurd confusion surrounding the barber Figaro. Nobody escapes the puppets - until the hilarious happy ending. A comedy for families as well as for a good evening with friends.

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Oct
25
to Nov 1

OPÉRA DE QUÈBEC | ANGELINA | LA CENERENTOLA

Direction musicale Jean-Marie Zeitouni
Mise en scène Véronika Makdissi-Warren

Gioacchino Rossini (1792 — 1868)
Livret de Jacopo Ferretti
Opéra comique en deux actes
En italien avec surtitres français

Gioacchino Rossini (1792 — 1868)
Libretto by Jacopo Ferretti
Comic opera in two acts
In Italian with French subtitles

Performances will take place in the Salle Louis-Fréchette of the Grand Théâtre de Québec on October 25, 28, 30, and November 1.

Information

Dans cette version pétillante de l’opéra de Rossini, la magie réside dans la musique et la véritable élégance vient du cœur!

La Cenerentola est un dramma giocoso de Gioacchino Rossini, librement inspiré du conte Cendrillon de Charles Perreault. Le librettiste, Jacopo Ferreti, remplace la magie par l’ingéniosité et l’humour tout en conservant le thème universel du triomphe de la bonté sur l’arrogance. Dans ce drame joyeux où se multiplient les quiproquos et les déguisements, un ridicule beau-père est substitué à la méchante belle-mère et des bracelets aux pantoufles de vair. Pour interpréter les savoureux personnages de cette œuvre pétillante, l’Opéra de Québec mise sur le talent et la flamboyance de grands interprètes comme Jean-Luc Ballestra et Christophe Gay.

L’opéra ne fut présenté qu’une seule fois à l’Opéra de Québec, en 1996. Les opéraphiles seront donc ravis de retrouver la partition, d’une grande virtuosité, qui enchaîne ensembles effervescents et vocalises étincelantes, dans un tout brillamment contrastant avec les tendres mélodies de Don Ramiro et de la douce Angelina.

Dans sa première mise en scène à l’Opéra de Québec, Véronika Makdissi-Warren, passionnée par le jeu clownesque et habituée des productions jeunesse, propose une transposition du Cendrillon de Rossini dans l’univers bouillonnant de la mode. Ici, ce n’est plus un prince qui cherche sa promise, mais plutôt un créateur de haute couture qui est en quête de sa nouvelle égérie. Cette proposition saura plaire aux jeunes fashionistas tout comme aux adeptes de contes merveilleux de tous âges.

In this sparkling version of Rossini's opera, the magic lies in the music and true elegance comes from the heart!

La Cenerentola is a dramma giocoso by Gioacchino Rossini, loosely based on Charles Perrault's fairy tale Cinderella. Librettist Jacopo Ferreti replaces magic with ingenuity and humor while retaining the universal theme of the triumph of goodness over arrogance. In this joyful drama, full of misunderstandings and disguises, a ridiculous stepfather replaces the wicked stepmother, and bracelets replace glass slippers. To interpret the delightful characters in this sparkling work, the Opéra de Québec relies on the talent and flamboyance of great performers such as Jean-Luc Ballestra and Christophe Gay.

The opera was performed only once at the Opéra de Québec, in 1996. Opera lovers will therefore be delighted to rediscover the highly virtuosic score, which combines effervescent ensembles and sparkling vocalizations, in a brilliant contrast to the tender melodies of Don Ramiro and the sweet Angelina.

In her first production at the Opéra de Québec, Véronika Makdissi-Warren, who is passionate about clowning and experienced in youth productions, offers a transposition of Rossini's Cinderella into the bustling world of fashion. Here, it is no longer a prince searching for his bride, but rather a haute couture designer in search of his new muse. This production will appeal to young fashionistas as well as fans of fairy tales of all ages.

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Nov
22
to May 23

STAATSTHEATER WIESBADEN | FLORA | LA TRAVIATA

Musikalische Leitung Leo McFall
Inszenierung Tom Goossens
Bühne & Lichtdesign Bart Van Marode
Kostüme Sietske Van Aerde/Lena Mariën
Abendspielleitung Max Nattkämper
Chor Aymeric Catalano
Choreografie Myriam Lifka
Licht Klaus Krauspenhaar
Dramaturgie Hanna Kneißler/Maarten Boussery
Musikalische Assistenz/Musikalische Einstudierung Tamara Lorenzo Gabeiras
Musikalische Einstudierung Julia Palmova/Adam Rogala
Bühnenbildassistenz Mascha Dilger
Kostümassistenz Dongjin Park

Performances will take place in the Großes Haus of the Staatstheater Wiesbaden. Ms. Sherman will perform on November 22, December 31, January 7, February 1 and 13, and May 22.

Information

Giuseppe Verdi (1813 - 1901)
Oper in drei Akten
In italienischer Sprache mit deutschen und englischen Übertiteln.

Text von Francesco Maria Piave nach Alexandre Dumas d. J.

Eine Koproduktion des Hessischen Staatstheaters Wiesbaden mit Opera Ballet Vlaanderen

Giuseppe Verdi (1813 - 1901)
Oper in three acts
In Italian with German and English subtitles

Libretto by Francesco Maria Piave, after Alexandre Dumas

A co-production with the Hessischen Staatstheaters Wiesbaden with Opera Ballet Vlaanderen

Nachts glitzert die Gesellschaft im Partylicht, und mittendrin Violetta Valéry. Sie ist umgeben von männlichen Blicken: Manche interessiert nur ihr glänzendes Äußeres; andere lieben sie mit Haut und Haar wie Alfredo Germont; wieder andere sorgen sich um den eigenen Ruf wie Alfredos Vater. Gerade als das junge Paar sein Glück in ungeschminkter Ehrlichkeit gefunden hat, verlangt er die Trennung. Regisseur Tom Goossens dreht den Spieß um und lässt Violetta selbst entscheiden, wer hier wen beobachtet und in den Fokus rückt. Es beginnt ein Spiel zwischen Entzaubern, Erkennen und Anerkennen mit strahlenden Ensemblestimmen und unter der Musikalischen Leitung von Verdi-Spezialist Leo McFall.

At night, society sparkles in the party lights, and Violetta Valéry is right in the middle of it. She is surrounded by male gazes: some are only interested in her dazzling appearance; others love her with all their heart, like Alfredo Germont; still others worry about their own reputation, like Alfredo's father. Just as the young couple has found happiness in unvarnished honesty, he demands a separation. Director Tom Goossens turns the tables and lets Violetta herself decide who is observing whom and who is in focus. A game of disenchantment, recognition, and acknowledgment begins, with radiant ensemble voices and under the musical direction of Verdi specialist Leo McFall.

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Dec
13
to Jan 4

STAATSTHEATER WIESBADEN | HÄNSEL | HÄNSEL UND GRETEL

Musikalische Leitung Holger Reinhardt
Inszenierung Bela Savić
Abendspielleitung Max Nattkämper
Bühne Bettina Neuhaus
Kostüme Susanne Füller
Licht Andreas Frank
Jugendchor Niklas Sikner
Dramaturgie Katja Leclerc
Vermittlung Oliver Riedmüller

Ms. Sherman will make her role debut in performances taking place in the Großes Haus of the Staatstheater Wiesbaden on December 13, 23, 25, 28, and January 4.

Information

Englebert Humperdinck (1854 - 1921)
Märchenspiel in drei Bildern (1893)
In deutscher Sprache mit deutschen Übertiteln.

Libretto von Adelheid Wette, nach dem Märchen der Brüder Grimm

Englebert Humperdinck (1854 - 1921)
Fairy Tale in three scenes
In German with German subtitles

Libretto Adelheid Wette, after the fairy tale by the Brothers Grimm

Seit der Uraufführung 1893 erobert „Hänsel und Gretel“ die Bühnen im Sturm und erfreut vor allem zur Weihnachtszeit viele Generationen von Kindern (und Erwachsenen!). Die eingängige Musik ist voller Melodien von Kinderliedern: „Brüderchen, komm, tanz mit mir“, „Ein Männlein steht im Walde“ und der „Abendsegen“. Die Oper nach dem berühmten Märchen wird von der jungen Regisseurin Beka Savić in einer Inszenierung für Jung und Alt liebevoll neu erzählt. Die Musikalische Leitung der Produktion liegt bei Holger Reinhardt.

„Zu bestaunen in Beka Savićs Inszenierung ist eine zart poetische Sicht auf Humperdincks Märchenspiel, die sich eng an die Vorlage halt. Wie auf Bettina Neuhaus‘ Bühne ein spektakulärer Riesenmond aufgeht, wie leuchtende Schattenumrisse auf Baumstämme projiziert werden und sich Waldtiere zu engelsgleich leuchtenden Fabelwesen wandeln, ist große Theaterkunst.“ (Bettina Boyens, Frankfurter Neue Presse)

Since its premiere in 1893, Hansel and Gretel has taken the stage by storm and delighted many generations of children (and adults!) especially during the Christmas season. The catchy music is full of melodies from children's songs: “Brüderchen, komm, tanz mit mir” (Little Brother, Come Dance with Me), “Ein Männlein steht im Walde” (A Little Man Stands in the Forest), and “Abendsegen” (Evening Blessing). The opera based on the famous fairy tale is lovingly retold by young director Beka Savić in a production for young and old alike. Holger Reinhardt is the musical director of the production.

"What is remarkable about Beka Savić's production is its delicately poetic take on Humperdinck's fairy tale, which closely follows the original. The way a spectacular giant moon rises on Bettina Neuhaus' stage, the way glowing shadow outlines are projected onto tree trunks, and the way forest animals transform into angelic, glowing mythical creatures is great theater art." (Bettina Boyens, Frankfurter Neue Presse)

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Jan
24
to Apr 29

STAATSTHEATER WIESBADEN | SPRING | THE SNOW MAIDEN

Musikalische Leitung Leo McFall
Inszenierung Maxim Didenko
Bühne und Kostüme Galya Solodovnikova
Video Oleg Mikhailov
Licht Oliver Porst
Chor Aymeric Catalano
Dramaturgie Hanna Kneißler
Musikalische Assistenz Holger Reinhardt
Musikalische Einstudierung Julia Palmova/Holger Reinhardt/Adam Rogala
Abendspielleitung Marvin Mohrhardt
Kostümassistenz Annika Kuchnowsky
Inspizienz Kenneth Pettitt

Ms. Sherman will make her role debut in performances taking place in the Großes Haus of the Staatstheater Wiesbaden on January 24, and 30, February 14 and 26, March 22, and April 29.

Information

Nicolai Rimski-Korsakow (1844 - 1908)
Oper in vier Akte mit Prolog
In russischer Sprache mit deutschen Übertiteln.

Libretto von Komponisten, nach Alexander N. Ostrowski

Nicolai Rimski-Korsakov (1844 - 1908)
Opera in four acts with prologue
In Russian with German subtitles

Libretto by the composer, after Alexander N. Ostrowski

Wenn der Frühling kommt, muss Snegurotschka schmelzen. Und das bedeutet für Rimski-Korsakows Titelfigur, die ganz aus Schnee besteht, den Tod. Das Libretto basiert auf einem Märchen, das zugleich eine Sozialstudie über Liebe, Berechnung und Macht ist. Die Lesart des russischen Regisseurs Maxim Didenko zeigt eine Landschaft über dem Klimakipppunkt, eine lebensfeindliche Eiswüste und zugleich eine erstarrte Gesellschaft, die es verlernt hat, einander zuzuhören. Die Eltern des Schneemädchens vertreten unterschiedliche Positionen der Wissenschaft: Wird Technologie die Welt retten? Oder doch der von allen ersehnte Frühling? Für Rimski-Korsakows Musik voller betörender Melodien und eingängiger Tänze zieht Leo McFall alle Orchesterregister.

When spring arrives, Snegurochka must melt. And for Rimsky-Korsakov's title character, who is made entirely of snow, that means death. The libretto is based on a fairy tale that is also a social study of love, calculation, and power. Russian director Maxim Didenko's interpretation shows a landscape beyond the climate tipping point, a hostile ice desert and, at the same time, a frozen society that has forgotten how to listen to one another. The Snow Maiden's parents represent different positions in science: Will technology save the world? Or will it be the spring that everyone longs for? Leo McFall pulls out all the stops for Rimsky-Korsakov's music, full of beguiling melodies and catchy dances.

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Mar
1
to Jun 14

STAATSTHEATER WIESBADEN | MERCÉDÈS | CARMEN

Musikalische Leitung GMD Leo McFall, Chin-Chao Lin
Inszenierung Uwe Eric Laufenberg
Bühne Gisbert Jäkel
Kostüme Antje Sternberg, Louise Buffetrille
Licht Andreas Frank
Video Gérard Naziri
Chor Albert Horne
Choreografische Mitarbeit Myriam Lifka
Jugendchor Niklas Sikner
Dramaturgie Laura Weber, Marie Johannsen

Georges Bizet (1838 – 1875)
Opéra-comique in drei Akten
In französischer Sprache mit deutschen Übertiteln.

Libretto von Henri Meilhac und Ludovic Halévy,
nach der Novelle (1845) von Prosper Mérimée
Uraufführung 1875 in Paris

Georges Bizet (1838 – 1875)
Opéra-comique in three acts
In French with German surtitles

Libretto by Henri Meilhac and Ludovic Halévy,
after the Novelle (1845) by Prosper Mérimée
First performed in Paris in 1875

Performances will take place in the Großes Haus of the Staatstheater Wiesbaden on March 3, 7, and 15, April 4, May 31, and June 14.

Information

»Carmen« zählt bis heute zu den beliebtesten Opern. Dabei war das Publikum bei der Uraufführung 1875 zunächst eher schockiert als begeistert, denn Bizet erhob die Minderprivilegierten – die verhängnisvoll-verführerische Carmen und den desertierten Soldaten Don José – zu den Hauptfiguren seiner Geschichte. Ihren großen Siegeszug trat die Oper dennoch an. Auch über einhundertvierzig Jahre später fasziniert das Werk mit seiner Welt von Schmugglerinnen, Stierkämpfern, Fabrikarbeiterinnen, Polizisten, Kindern und Soldaten das Publikum auf der ganzen Welt.

“Carmen” remains one of the most popular operas to this day. At its premiere in 1875, the audience was initially more shocked than thrilled, as Bizet elevated the underprivileged - the fatefully seductive Carmen and the deserted soldier Don José - to the main characters of his story. Nevertheless, the opera went on to achieve its great triumph. Over one hundred and forty years later, the work continues to fascinate audiences all over the world with its world of smugglers, bullfighters, factory workers, policemen, children and soldiers.

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Jun
17
to Jun 27

STAATSTHEATER WIESBADEN | DORABELLA | COSÌ FAN TUTTE

Musikalische Leitung Leo McFall
Inszenierung und Video Marie-Ève Signeyrole
Licht Philippe Berthomé
Chor Aymeric Catalano
Dramaturgie Louis Geisler/Balthazar Bender
Regieassistenz Kilian Bohnensack

Ms. Sherman will make her role debut in performances taking place in the Großes Haus of the Staatstheater Wiesbaden on June 17, 19, 21, 23, 25, and 27.

Information

Wolfgang Amadeus Mozart (1756 — 1791)
Opera buffa in zwei Akte
In italienischer Sprache mit deutschen Übertiteln

Wolfgang Amadeus Mozart (1756 — 1791)
Comic opera in two acts
In Italian with German subtitles

„Così fan tutte: Alle machen es so!“ Der Zyniker Don Alfonso glaubt nicht an Liebesversprechen und Treueschwüre. Er schließt mit zwei Freunden eine Wette ab und will ihnen beweisen, dass ihre Verlobten ihnen innerhalb eines Tages untreu werden. Es folgen Intrigen, Verführungsspiele und Verwirrungen der Gefühle. Mozarts „Così fan tutte“ zeigt den Menschen haltlos und verloren – auf der Suche nach Freundschaft und Liebe, auf der Suche nach sich selbst. Die französische Regisseurin Marie-Ève Signeyrole lädt zu jeder Vorstellung 20 Paare aus Wiesbaden ein, auf der Bühne Platz zu nehmen und den Theaterabend in einer besonderen Unmittelbarkeit zu erleben.

“Così fan tutte: Everyone does it!” The cynic Don Alfonso does not believe in promises of love and vows of fidelity. He makes a bet with two friends and wants to prove to them that their fiancées will be unfaithful to them within a day. Intrigue, seduction games, and emotional turmoil ensue. Mozart's “Così fan tutte” shows people as unstable and lost—searching for friendship and love, searching for themselves. French director Marie-Ève Signeyrole invites 20 couples from Wiesbaden to each performance to take their seats on stage and experience the theater evening with a special immediacy.

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Aug
30
to Oct 3

STAATSTHEATER WIESBADEN | SUMMERTIME: BROADWAY IN CONCERT

Musikalische Leitung GMD Leo McFall
Szenische Einrichtung Myriam Lifka
Dramaturgie Katja Leclerc

Performances will take place in the Großes Haus of the Staatstheater Wiesbaden on August 30 and October 3.

Information

„Give my regards to old Broadway“: Unser Opernensemble und das Hessische Staatsorchester bringen die goldene Ära des Musicals nach Wiesbaden. Großer Glamour, zarte Momente: In diesem Gala-Konzert zeigen sich die Hits vom Broadway bis zu den MGM-Filmen der 40er- bis 60er-Jahre von ihrer besten Seite. Freuen Sie sich auf eine schillernde Zeitreise für Fans von George Gershwin, Rodgers und Hammerstein, Irving Berlin, Leonard Bernstein und vielen mehr!

“Give my regards to old Broadway”: Our opera ensemble and the Hessian State Orchestra bring the golden age of musicals to Wiesbaden. Great glamour, tender moments: this gala concert showcases the best hits from Broadway and MGM films of the 1940s to 1960s. Fans of George Gershwin, Rodgers and Hammerstein, Irving Berlin, Leonard Bernstein, and many more can look forward to a dazzling journey through time!

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Apr
12
to Jun 21

STAATSTHEATER WIESBADEN | MARCELLINA | LE NOZZE DI FIGARO

Musikalische Leitung GMD Leo McFall
Inszenierung Uwe Eric Laufenberg
Bühne Gisbert Jäkel
Kostüme Jessica Karge
Licht Andreas Frank
Chor Albert Horne
Dramaturgie Daniel C. Schindler

Wolfgang Amadeus Mozart (1756–1791)
Komische Oper in vier Akten
In italienischer Sprache mit deutschen Übertiteln.

Libretto von Lorenzo Da Ponte, nach »La folle journée ou Le mariage de Figaro«
von Pierre Augustin Caron de Beaumarchais
Uraufführung 1786 in Wien

Wolfgang Amadeus Mozart (1756–1791)
Comic opera in four acts
In Italian with German surtitles

Libretto by Lorenzo Da Ponte, after “La folle journée ou Le mariage de Figaro”
by Pierre Augustin Caron de Beaumarchais
First performed in Vienna in 1786

Eine ausgeklügelte Geschichte und zeitlos gute Musik sind die besten Voraussetzungen für eine erfolgreiche Komödie. Mit »Die Hochzeit des Figaro« eröffnete Mozart seine Trias aus legendär gewordenen Meisteropern, die der Komponist allesamt auf Textbücher des Italieners Lorenzo Da Ponte verfasste. Das Stück präsentiert eine unvergängliche Liebesgeschichte, eine verspielte und beißende Gesellschaftssatire – und doch greifen alle diese Umschreibungen zu kurz. Denn »Figaro« ist vor allem auch: ein Werk des Umbruchs, ein Stück des stürmischen Drängens nach persönlicher Anerkennung und damit zugleich ein überzeitlich erfahrbares Sinnbild für das Aufbegehren des Individuums gegen das Establishment.

An ingenious story and timelessly good music are the best prerequisites for a successful comedy. With “The Marriage of Figaro”, Mozart opened his trio of legendary master operas, all of which the composer wrote to librettos by the Italian Lorenzo Da Ponte. The piece presents an immortal love story, a playful and biting social satire - and yet all these descriptions fall short. For “Figaro” is above all: a work of upheaval, a play of the stormy urge for personal recognition and thus at the same time a timeless symbol of the rebellion of the individual against the establishment.

Information

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Mar
30
to Jul 6

STAATSTHEATER WIESBADEN | ROSINA | IL BARBIERE DI SIVIGLIA

Musikalische Leitung Tamara Lorenzo Gabeiras
Inszenierung Nikolaus Habjan
Bühne Jakob Brossmann
Kostüme Denise Heschl
Puppencoach Manuela Linshalm
Chor Albert Horne

Gioachino Rossini (1792 – 1868)
Oper buffa in zwei Akten
In italienischer Sprache mit deutschen Übertiteln.

Libretto von Cesare Sterbini, nach »Le barbier de Séville«
von Pierre Augustin Caron de Beaumarchais
Uraufführung 1816 in Rom

Eine Produktion des Theater Basel

Gioachino Rossini (1792 – 1868)
Oper buffa in two acts
In Italian with German subtitles

Libretto by Cesare Sterbini, after “Le barbier de Séville”
by Pierre Augustin Caron de Beaumarchais
First performed in Rome in 1816

A production of Theater Basel

Die wildgewordenen Klappmaulpuppen von Puppenspiel-Ikone Nikolaus Habjan erobern die Bühne! In seiner gefeierten Inszenierung vom Theater Basel werden alle in das rasante, lustige und manchmal düster-absurde Verwirrspiel um den Barbier Figaro gezogen. Den Puppen entkommt niemand – bis zum heiteren Happy End. Eine Komödie für Familien ebenso wie für einen guten Abend unter Freunden.

Iconic puppeteer Nikolaus Habjan's wild-eyed puppets conquer the stage! In his acclaimed production at Theater Basel, everyone is drawn into the fast-paced, funny and sometimes darkly absurd confusion surrounding the barber Figaro. Nobody escapes the puppets - until the hilarious happy ending. A comedy for families as well as for a good evening with friends.

Information

View Event →
Dec
14
to Feb 9

STAATSTHEATER WIESBADEN | MERCÉDÈS | CARMEN

Musikalische Leitung GMD Leo McFall, Chin-Chao Lin
Inszenierung Uwe Eric Laufenberg
Bühne Gisbert Jäkel
Kostüme Antje Sternberg, Louise Buffetrille
Licht Andreas Frank
Video Gérard Naziri
Chor Albert Horne
Choreografische Mitarbeit Myriam Lifka
Jugendchor Niklas Sikner
Dramaturgie Laura Weber, Marie Johannsen

Georges Bizet (1838 – 1875)
Opéra-comique in drei Akten
In französischer Sprache mit deutschen Übertiteln.

Libretto von Henri Meilhac und Ludovic Halévy,
nach der Novelle (1845) von Prosper Mérimée
Uraufführung 1875 in Paris

Georges Bizet (1838 – 1875)
Opéra-comique in three acts
In French with German surtitles

Libretto by Henri Meilhac and Ludovic Halévy,
after the Novelle (1845) by Prosper Mérimée
First performed in Paris in 1875

»Carmen« zählt bis heute zu den beliebtesten Opern. Dabei war das Publikum bei der Uraufführung 1875 zunächst eher schockiert als begeistert, denn Bizet erhob die Minderprivilegierten – die verhängnisvoll-verführerische Carmen und den desertierten Soldaten Don José – zu den Hauptfiguren seiner Geschichte. Ihren großen Siegeszug trat die Oper dennoch an. Auch über einhundertvierzig Jahre später fasziniert das Werk mit seiner Welt von Schmugglerinnen, Stierkämpfern, Fabrikarbeiterinnen, Polizisten, Kindern und Soldaten das Publikum auf der ganzen Welt.

“Carmen” remains one of the most popular operas to this day. At its premiere in 1875, the audience was initially more shocked than thrilled, as Bizet elevated the underprivileged - the fatefully seductive Carmen and the deserted soldier Don José - to the main characters of his story. Nevertheless, the opera went on to achieve its great triumph. Over one hundred and forty years later, the work continues to fascinate audiences all over the world with its world of smugglers, bullfighters, factory workers, policemen, children and soldiers.

Information

View Event →
Oct
11
to Apr 5

STAATSTHEATER WIESBADEN | TITLE ROLE | FANTASIO

Musikalische Leitung Chin-Chao Lin
Inszenierung Anna Weber
Bühne Sina Manthey
Kostüme Laura Kirst
Licht Marcel Hahn
Chor Albert Horne
Dramaturgie Hanna Kneißler

Jacques Offenbach (1819 –1880)
Opéra-comique in drei Akten
In deutscher Sprache mit Übertiteln.

Libretto von Paul de Musset und Charles Nuitter
nach Alfred de Mussets gleichnamiger Komödie
In einer Übersetzung von Carsten Golbeck, Fassung von Anna Weber
Uraufführung 1872 in Paris

Jacques Offenbach (1819 –1880)
Opéra-comique in three acts
In German with subtitles

Libretto by Paul de Musset and Charles Nuitter
after Alfred de Mussets’s comedy of the same name
In a translation by Carsten Golbeck, version by Anna Weber
First performed in Paris in 1872

Fantasios Name ist Programm. Mit einer Überdosis Verrücktheit und kreativer Energie navigiert sich die Studentin durch jede noch so brenzlige Lage. Schließlich gilt es, die Sängerin Theres vor einem Heiratsdeal zu retten und die faulen Tricks eines Privatinvestors zu entlarven. Aus Offenbachs Operette zimmert Regisseurin Anna Weber eine Ode ans Theater zwischen Straßenrevolte, Abrissparty und funkelnder Fantasiewelt.

Fantasio's name says it all. With an overdose of craziness and creative energy, the student navigates her way through every dicey situation. Ultimately, she has to save the singer Theres from a marriage deal and expose the rotten tricks of a private investor. Director Anna Weber turns Offenbach's operetta into an ode to the theater between street riot, demolition party and sparkling fantasy world.

Information

View Event →
Sep
29
to Jul 4

STAATSTHEATER WIESBADEN | BARBARA | SALON STROZZI

Musikalische Leitung Christian Rohrbach
Inszenierung Maëlle Dequiedt
Kostüme Solène Fourt
Dramaturgie Simon Hatab, Balthazar Bender, Hanna Kneißler

Ein Sit-In auf der Hauptbühne mit Barockmusik von Barbara Strozzi (1619 –1677)
In englischer und deutscher Sprache.

A sit-in on the main stage with baroque music by Barbara Strozzi (1619 -1677) In English and German.

Sie erntete helle Begeisterung für ihre raffinierte Musik und trat doch fast nur im eigenen Haus auf: Barbara Strozzi, eine der aufregendsten Komponistinnen vor 1700. Ihre Salons, die das Gespräch auf Augenhöhe suchten, übersetzt Regisseurin Maëlle Dequiedt auf poetische Weise ins Heute. Publikum und Mitwirkende treffen sich auf der Hauptbühne, um zwischen kunstvollen Arien und persönlichen Erlebnissen zusammen über Sinn und Grenzen von Gemeinschaft nachzudenken.

She was met with great enthusiasm for her refined music and yet performed almost exclusively in her own home: Barbara Strozzi, one of the most exciting female composers before 1700. Director Maëlle Dequiedt poetically translates her salons, which sought conversation at eye level, into the present day. Audience and performers meet on the main stage to reflect together on the meaning and limits of community between artistic arias and personal experiences.

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Dec
22
to Dec 27

THEATER BASEL | OPERETTAVENIR

Camille will perform in a program of operetta and Opéra Comique featuring music by Johann Strauss, Jacques Offenbach, Franz von Suppè and others. Directed by Tilman aus dem Siepen and musical direction by Hélio Vida.

Performances will be held in the Kleine Bühne at Theater Basel on December 22 and 27

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Mar
10
to Mar 12

ANCHORAGE OPERA | JESS | MISSING (US PREMIERE)

Ms. Sherman will make her role and company debut as Jess with Anchorage Opera in the US Premiere of Missing.

Missing, by Métis playwright Marie Clements and Juno-winning composer Brian Current, gives voice, in English and Gitxsan, to the stories of missing and murdered Indigenous women and girls. A poetic expression of loss, hope and the spirit finding home. Although the action of Missing takes place in the stark reality of a current epidemic, “it also takes place in the realm of dreams, the land of myth and the caverns of the unconscious. At its core is something very real: how our culture stereotypes Indigenous women and puts them in constant danger of rape or worse” – The Straight, A. Varty. The USA premiere presentation of Missing by Anchorage Opera, Indigenous led and cast, speaks to the tragic situation in Alaska where high violence rates against Alaska Native women has created a culture in which they feel invisible and disposable.

Performances will take place on March 10, 11 and 12. Tickets can be found here

Music by Brian Current
Libretto by Marie Clements
Stage direction by Rhiana Yazzie
Conducted by Timothy Long


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Feb
9
to Feb 13

ANCHORAGE OPERA | JESS | MISSING (US PREMIERE) *canceled due to Covid 19

Ms. Sherman will make her role and company debut as Jess with Anchorage Opera in the US Premiere of Missing.

Missing, by Métis playwright Marie Clements and Juno-winning composer Brian Current, gives voice, in English and Gitxsan, to the stories of missing and murdered Indigenous women and girls. A poetic expression of loss, hope and the spirit finding home. Although the action of Missing takes place in the stark reality of a current epidemic, “it also takes place in the realm of dreams, the land of myth and the caverns of the unconscious. At its core is something very real: how our culture stereotypes Indigenous women and puts them in constant danger of rape or worse” – The Straight, A. Varty. The USA premiere presentation of Missing by Anchorage Opera, Indigenous led and cast, speaks to the tragic situation in Alaska where high violence rates against Alaska Native women has created a culture in which they feel invisible and disposable.

Performances will take place on February 9, 11, 12, and 13. Tickets can be found here

Music by Brian Current
Libretto by Marie Clements

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Dec
18
to Dec 19

QUEER OPERA

Ms. Sherman will join Portland based company Queer Opera for their third season of opera scenes and art song performances. Camille will perform as the title character in the final scene of Tchaikovsky’s Eugene Onegin, and as Count Almaviva in the finale of Mozart’s Le Nozze di Figaro.

Founded in 2017 at Portland State University, Queer Opera is dedicated to providing a safe stage for LGBTQIA singers and allies to tell queer stories through the traditional genre of opera. Using unconventional casting methods, roles are matched with individuals based on how they identify, rather than the gender of the role or their voice type.

Performances will be held at Lincoln Hall at Portland State University on December 18th and 19th. Tickets are free and extremely limited.

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Jul
10
to Jul 23

DES MOINES METRO OPERA | THALIE | PLATÉE

Ms. Sherman will perform Thalie in Des Moines Metro Opera’s new production of Rameau’s Platée.

The vain Platée thinks every man who comes near her will instantly fall in love—and once she's convinced the god Jupiter has fallen victim to her charms, her narcissism grows to Olympus-sized proportions. Written for a royal wedding at Versailles, Platée rivals the famed palace’s architectural exuberance. Above it all is a celebration of Rameau’s incredibly fertile imagination for vocal and instrumental wit and characterization. DMMO presents this company premiere and first foray into French Baroque music in a new production.

Performances dates: July 10, 15, 18, 23

Music by Jean-Philippe Rameau
Libretto by Adrien-Joseph Le Valois d'Orville
Stage direction by Chas Rader-Shieber
Conducted by Gary Thor Wedow

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Jul
3
to Jul 24

DES MOINES METRO OPERA | CHORUS | QUEEN OF SPADES

Ms. Sherman will perform in the chorus of Des Moines Metro Opera’s new production of Tchaikovsky’s Queen of Spades.

Tchaikovsky anticipated the 20th century in this brooding, ambitious ghost story set against the backdrop of imperial Russia. In this surreal drama by Pushkin, the soldier Gherman parlays his love for the young aristocrat Lisa into a life-and-death wager, using their mutual attraction to mask his entrée to her grandmother’s bedchamber. There, he confronts the aged Countess, known as the Queen of Spades, who long ago learned the secret to certain success when gambling at cards. She dies of fright, but her ghost soon conveys the formula to Gherman: “Three, seven, ace!” In his madness, Gherman rejects Lisa, with lethal results, then makes an enormous bet at the gambling table. He wins, first with a three and then a seven, but his final card is the Queen of Spades. The Countess’s ghost appears again and claims her macabre winnings—Gherman’s life.

Performances dates: July 3, 11, 14, 16, 24

Music by Pyotr Ilyich Tchaikovsky
Libretto by Modest Tchaikovsky
Stage direction by Matthew Ozawa
Conducted by David Neely

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Jul
2
to Jul 25

DES MOINES METRO OPERA | BEGGAR WOMAN (COVER) | SWEENY TODD

Ms. Sherman will cover the role of the Beggar Woman in Des Moines Metro Opera’s new production of Stephen Sondheim’s Sweeney Todd.

Sweeney Todd: The Demon Barber of Fleet Street was the rage of Broadway when it premiered, winning eight Tony Awards including Best Musical and Best Original Score. In the years since, it has migrated to the world’s opera houses, thanks to its thrilling score - full of magnificent solos and sophisticated ensembles - and its larger-than-life characters.

Performances dates: July 2, 4, 9, 17, 20, 22, 25

Music by Stephen Sondheim
Book by Hugh Wheeler
Stage direction by Kristine McIntyre
Conducted by David Neely

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Nov
11
7:00 PM19:00

PORTLAND OPERA | WOMEN IN POLITICAL LIFE: LIVE FROM THE HAMPTON OPERA CENTER

A NEW SERIES: STREAMING LIVE FROM OUR ARTISTIC HOME!

As part of Portland Opera’s reimagined 20/21 season, the Live from the Hampton Opera Center series features opera artists who call Portland and the PNW “home.” These performances will spotlight artists we’ve celebrated together on the Portland Opera stage—with two former Resident Artists, Katrina Galka and Camille Sherman; local composer and Portland Opera Artistic Advisor Damien Geter; as well as two recent guest artists Martin Bakari and Vanessa Isiguen.

Each hour-long performance will be broadcast live from the Hampton Opera Center, Portland Opera’s home in Southeast Portland, where featured artists can follow health and distance protocols, reviewed by the company’s medical advisors, to ensure safe performance practices without an in-person audience. Pianists will include Nicholas Fox, Jessica Hall, and Kira Whiting.

Women in Political Life is a recital focusing on the stories of Eleanor Roosevelt, Ruth Bader Ginsburg, Mary Todd Lincoln, Jackie Kennedy Onassis, and Barbara Bush.

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Oct
31
7:30 PM19:30

OPERA THEATER OREGON : INVISIBLE: A VIRTUAL SONGSPIEL

Join OTO for a program featuring the world premiere of Damien Geter’s Invisible, adapted from the prologue of Ralph Ellison’s novelInvisible Man, which lyrically interrogates themes of racism and identity for African Americans.

This unique “virtual songspiel” at Portland’s intimate Polaris Hall begins with Franz Schubert’s “Shepherd on the Rock,” journeys through time and space with some of the first and last songs of Amy Beach and Stephen Foster, and closes with the premiere performance of Invisible by special guest, Portland’s own Onry. Program will also feature a special performance of Onry’s original song, Living in the Light. 

Look forward to performances by Jocelyn Claire Thomas, Camille Sherman, Adrian Rosales-Cassilas, Lisa Lipton, Logan Thane Brown, with Sequoia accompanying on piano and arrangements by Artistic Director, Justin Ralls. With guest appearance by jazz pianist George Colligan.

“Imagine if Franz Schubert, Stephen Foster, Amy Beach, Damien Geter and Onry all found themselves in Havisham’s parlor from Great Expectations, presenting their music in a Twilight Zone-esque salon of music, poetry, and a dreamlike reflection of past, present, and future on what will surely be the most surreal Hallows’ Eve in recent memory. We hope to give an intimate, cathartic experience – interrogating nostalgia and promoting innovation – and asserting that music has a place in times of upheaval.” – Justin Ralls, Artistic Director 

We are excited to announce a forthcoming collaboration with stage direction by Kate Bergstrom and experimental lighting collaboration with Open Show in the creation of a music video Invisible , featuring Damien Geter and Onry.

October 31, 2020

7:30 p.m. live stream from Polaris Hall

Sliding scale donation: $10-20 

Duration: ca. 50 min. 

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Oct
25
3:00 PM15:00

PENSACOLA OPERA | SUNDAYS ON THE MEZZANINE: CAMILLE SHERMAN IN RECITAL

Settle in for a full length, curated performance by Pensacola Opera stars—all from the comfort of your living room. Every other Sunday at 3:00 PM, tune in and chat along with us, as we provide “behind the scenes” info and special insights from the artists.

On this Sundays on the Mezzanine, Mezzo-soprano Camille Sherman (AIR 2017-18) returns to Pensacola Opera for Sundays on the Mezzanine. Coming to us from Portland, Oregon, Camille has assembled a beautifully stirring program of songs and arias with a message of hope, resilience, and springtime, featuring selections by Brahms, Rachmaninoff, Florence Price, and more. She will be joined by Director of Education Cody Martin in this special, remotely filmed performance.

This event is recorded in HD and available exclusively on Facebook.

KNOW BEFORE YOU GO
– Tickets are $9.99 and can be purchased directly through the Facebook event.
– You’ll also access the stream within this event or on our Facebook page.
– The broadcast will begin promptly at 3 pm so don’t miss it!
– This is a live-streamed event and *may* not be available to rewatch later.

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Aug
25
7:00 PM19:00

LISA AND FRIENDS: A CONTEMPORARY CHAMBER CONSORT

Lisa & Friends: A Contemporary Chamber Consort, will be a performance of contemporary chamber music for Clarinet, Percussion, Voice, Piano, Guitar, and Drums. Born out of the desire to obtain more new music, and give life to lesser performed contemporary works, Lisa decided to organize a unique and innovative ensemble of friends in the musical community of Portland, Oregon to perform this livestream night of premieres.

Lisa & Friends will feature Micah Hummel on drums, George Colligan on Piano, Mark Dubac on Clarinet, Camille Marie Sherman, Mezzo-Soprano, Daniel Mobbs, Bass-Baritone, Sequoia on Piano, and Jim Brunberg on Guitar.

This production will be a collaborative and unique experience of new commissions, new traditions, and time honored instruments.

A link will be sent out to ticket purchasers before the event begins.

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