To learn from Maestro Paolo Arrivabeni about his journey before he steps on the podium to conduct an opera or a symphony is more than a treat. It is a brief excursion into some of the layers he explores before he picks up his baton. More than rehearsals with singers and orchestra, more than simply studying a score, more than even choosing what he intends with the music before him, we glimpse something of the intricate  thoughts, feelings, and aspirations, he aims to conjure up. As he so aptly says his goal is to create a bridge between the external realities of life and the beauty and emotions of the music. His artistic intention is to provide us with an immersive experience of the composer’s own vision.

Who is Paolo Arrivabeni?

One of the most in-demand Italian opera conductors of his generation, Paolo Arrivabeni’s repertory ranges from the great Italian composers of the 19th century to Wagner, Strauss and Mussorgsky. The 2024-25 season features “Simon Boccanegra” at the Opernhaus Zürich, “Madama Butterfly” at both the Opéra de Marseille and the Semperoper Dresden, “Maria Stuarda” at the Royal Danish Opera, “Il Trovatore” at the Staatsoper Hamburg, and “Aida” and “Nabucco” at the Deutsche Oper Berlin.

OperaWire: What do you want to “communicate” through a performance?

Paolo Arrivabeni: Through my work as a conductor, I strive to communicate to the audience the genius and profound artistry of the composer we are interpreting. By doing so, my goal is to create a space where the audience can momentarily detach from the external realities of life and immerse themselves in the beauty and emotions of the music. I see our role as artists and interpreters as a bridge, bringing to life the genius of the composer and offering the audience a unique, transformative experience that allows them to lose themselves in the music, even if just for a few hours.

OW: How do you communicate with the orchestra most comfortably? Most successfully?

PA: I communicate with the orchestra using my entire body to convey what I want to achieve musically. This includes not only my arms but also the expressions on my face. The amount of verbal communication I use depends on the time we have; sometimes there’s more room to explain, and other times less. However, the most important aspect is to express my intentions through gestures and physical presence. Often, there simply isn’t enough time to say everything I might wish to articulate, but skilled orchestras are accustomed to reading conductors who can effectively express themselves through body language. This physical dialogue becomes the cornerstone of a successful collaboration.

OW: How do you approach singers and orchestras when you prepare to do a work?

PA: I approach both singers and orchestras with great respect, acknowledging their artistry and individuality. At the same time, I come with a clear and precise vision of what I aim to achieve musically. This vision is always shaped by the resources available to me—whether it’s the unique qualities of the performers or the specific circumstances of the production. Balancing respect for their talents with a firm sense of direction allows for a collaborative process where everyone feels valued yet guided toward a shared artistic goal.

OW: What if any significant differences are there in working in an Italian house versus working in a German or French one?

PA: When comparing Italian opera houses to German or French ones, significant differences emerge, particularly in preparation times and processes. In German-speaking theaters, the preparation periods tend to be much shorter than in French or Italian theaters. However, the speed of learning and execution in German theaters is notably higher, which allows them to adapt efficiently to the shorter timelines. In Italy, there’s often an inherent advantage when conducting works by Italian composers like Donizetti, Bellini, Verdi, or Puccini. These masterpieces are deeply rooted in our cultural DNA, providing a natural connection and understanding that informs the artistic process. This familiarity offers a head start in interpreting and performing such works.

In Germany, the focus and expertise often lie in a different repertoire, where they have their own intrinsic advantages and traditions, just as we do with our Italian operatic heritage. Ultimately, while the pathways to the final product may vary—whether shaped by cultural, logistical, or repertorial differences—the resulting quality remains consistent, whether it’s Italian, French, or German. It’s the approach and methods that differ, not the pursuit of excellence.

OW: How do you approach conducting a new opera? What are your first steps? What follows?

PA: The first steps involve researching the period in which the opera was composed, studying the composer’s life, and understanding the historical and cultural context in which the work was conceived. This foundation is essential to grasp the broader environment that influenced the opera’s creation.

Next, I turn to the libretto, as it plays a crucial role in understanding the narrative, characters, and dramatic structure. Once familiar with the text, I immerse myself in the score, exploring its musical and dramatic nuances. In the early and even advanced stages of study, I consciously avoid external influences, such as historic or modern recordings, to ensure that my interpretation remains original and uninfluenced. I believe this allows me to develop a fresh and personal perspective on the work.

Only after forming my own vision do I compare my interpretation with that of other conductors who have directed or recorded the opera. This exchange of ideas can be enlightening and sometimes even inspiring, but it must never override or compromise the choices I have independently made. The goal is always to stay true to my artistic understanding while respecting the integrity of the opera and its creator.

OW: How does this process differ from conducting an opera you are more familiar with?

PA: The difference lies primarily in the fact that, with an opera I am already familiar with, I already have a deep understanding of the score, the libretto, the historical context, and the composer’s life and times. This prior knowledge forms a strong foundation that allows me to engage with the work at a more instinctive level.

However, even when revisiting an opera I have conducted many times, I always make a point of rethinking certain elements in light of new experiences and perspectives I’ve gained since my last encounter with the piece. This reflection often leads me to reconsider choices I made in the past that may no longer align with how I currently understand or feel about the opera.

In this sense, conducting a familiar work is never static; it is always an opportunity for rediscovery and growth. Each time I approach it, I find something new—new insights, new interpretations, or simply new ways to connect with the music and the drama. It’s an ongoing process of evolution and refinement, ensuring that my interpretation remains vibrant and relevant, both to me and to the performers and audiences I am working with.

OW: How would you describe an Arrivabeni performance? What are some of its characteristics?

PA: It’s difficult to define an Arrivabeni performance in specific terms because no two performances are ever the same. Each evening brings its own unique energy and nuances, shaped by a variety of factors—the mood of the performers, the chemistry with the orchestra, the singers’ interpretations, and even the audience’s engagement. For me, it’s this dynamic and ever-changing nature of live performance that makes it so special.

Every night, something may shift—sometimes subtly, sometimes profoundly—and that’s what keeps the art alive and authentic. My focus is on being fully present and responsive, allowing the music to breathe and evolve naturally. This adaptability ensures that every performance has its own identity, creating a singular experience for the audience and everyone involved.

OW: I understand you like to conduct Wagner. Can you say something about your connection to his music?

PA: I’ve had the privilege of conducting some of Wagner’s works, beginning with “Der fliegende Holländer” (“The Flying Dutchman”) and later “Lohengrin.” I feel a deep connection to his music, particularly because these two operas resonate with a certain “Italianate” quality—if I may say so—that aligns with the lyrical and expressive style of 19th-century Italian operatic writing. This makes them particularly appealing to me as a conductor steeped in that tradition. Wagner’s music captivates me with its depth and complexity, and I hope to have the opportunity to explore more of his repertoire in the future. His ability to weave profound emotional and musical narratives is something I find immensely rewarding, both as an interpreter and as someone who seeks to share that richness with audiences.

OW: Also, can you speak about the relationship between your views and feelings about Italian opera and Wagner’s?

PA: There is a fascinating and profound relationship between Italian opera and Wagner’s music, as the two traditions influenced each other in meaningful ways. For instance, in Giuseppe Verdi’s villa in Sant’Agata, you can find Wagner’s scores, which Verdi read and knew well. Verdi was certainly aware of Wagner’s innovations and musical ideas. On the other hand, Wagner himself deeply admired Italian opera, particularly Bellini’s “Norma,” which he held in the highest regard.

This interplay demonstrates that these musical worlds are not isolated compartments. Both Verdi and Wagner traveled extensively, exposing themselves to different musical traditions and enriching their own artistry through these experiences. Wagner’s works, while grounded in Germanic traditions, reflect a certain operatic grandeur and lyricism that resonate with elements of the Italian style. Similarly, Italian composers absorbed elements of Wagner’s musical language, such as his use of leitmotifs and orchestral richness, integrating them into their own operatic vocabulary.

Ultimately, the connection between Italian opera and Wagner lies in their shared pursuit of emotional depth and dramatic intensity, each influencing the other in subtle but significant ways. This cultural and musical exchange underscores the universality of great art, transcending borders and traditions.

OW: What was your musical dream when you were a young person?

PA: When I was young, my dream was to become a pianist. I enrolled in the Conservatory with that goal in mind, but there wasn’t an available spot in the piano class at the time. To allow me to enter, they placed me in the composition class instead. Initially, this wasn’t what I had envisioned, but I quickly fell in love with composition, discovering a passion I hadn’t anticipated. Over time, I was able to pursue piano studies alongside composition, and these two disciplines became the foundation of my musical journey. It was during these formative years that the idea of conducting began to take shape. My experiences with piano and composition gave me a comprehensive understanding of music that naturally led to a desire to direct and collaborate with orchestras. This evolution from aspiring pianist to composer and ultimately to conductor has shaped who I am as a musician, blending technical mastery with a deep appreciation for the creative process.

OW: What was your musical training? Where? Who was your most influential teacher?

PA: I began my musical training at the Conservatory of Mantua and completed it at the Conservatory of Parma, a city deeply connected to Giuseppe Verdi’s legacy. While many teachers influenced me, two were particularly significant: Camillo Togni for composition and Daniele Gatti for conducting. I transferred from Mantua to Parma because the former didn’t offer conducting studies, and this move allowed me to fully pursue my passion for orchestral direction in an inspiring and supportive environment.

OW: Who were your primary mentors?

PA: Daniele Gatti was a pivotal mentor who guided me during the early stages of my career. I firmly believe that conducting cannot truly be taught—it is something you learn through experience and observation. For a few years, I had the privilege of working alongside him, both at the Teatro Comunale di Bologna and other theaters. During this time, I absorbed a tremendous amount simply by being in his presence, observing his approach, and working closely with him. This hands-on experience was invaluable, shaping my understanding of the art and craft of conducting in ways that formal lessons never could.

OW: Do you mentor other musicians?

PA: I wouldn’t presume to call myself a mentor to anyone. If some of my assistants or students consider me their mentor, that’s for them to say, not for me. Over the years, I’ve had several young conductors by my side, working as my assistants, and I hope I’ve managed to pass on some of what I’ve learned. During my brief time as a teacher, I’ve had students who went on to establish independent careers, which is always gratifying to see. I’ve always tried to share my knowledge generously because I believe it’s essential to pass on what we’ve learned to the next generation. While I may not see myself as a mentor in the traditional sense, I do hope my guidance has left a positive and lasting impact on the musicians I’ve worked with.

OW: How has this differed from what you originally wanted? Aspired to? Actually done?

PA: I originally aspired to work more extensively in my own country, imagining a career deeply rooted in Italy. However, life and circumstances led me in a different direction, with most of my work taking place abroad. This shift happened naturally and without regret, as it gave me the opportunity to engage with diverse cultures, audiences, and artistic traditions. Working internationally has enriched my perspective and allowed me to grow in ways I hadn’t anticipated, and I’ve found fulfillment and comfort in these foreign environments. While my initial vision may have been different, the path I’ve followed has been deeply rewarding.

OW: How does your conducting mesh with your personal life?

PA: Conducting doesn’t “mesh” with my personal life because, for an artist, the two are inseparable. Being a musician isn’t a job you can separate from your identity—it’s who you are. I don’t stop being a conductor or a musician when I leave the theater; it’s a constant part of my life and my way of being. The idea of integrating work and life doesn’t quite apply to this profession because artistry permeates everything. It’s not like I leave rehearsal and suddenly become someone entirely different. Of course, there are moments when I take time to disconnect, relax and spend time with my loved ones, but my identity as a musician and conductor is always present, shaping my perspective and how I live. This is the essence of an artist’s life—it’s all interconnected.

OW: When and how did you decide to concentrate on conducting?

PA: I can’t pinpoint the exact age or moment I decided to focus on conducting—it came to me later in life. While studying composition, I found myself increasingly drawn to the great symphonic repertoire. Experiencing this music, both in study and live performances, had a profound impact on me. Symphonic music became my first love and ultimately led me to shift my focus away from the piano. Conducting felt like a more expansive and fulfilling means of expression, offering a broader palette to communicate musical ideas. It allowed me to engage with the richness of the orchestral repertoire in ways that were deeply rewarding. My journey into opera came later, after I had established a strong connection to symphonic music, but both forms have since become integral to my life as a conductor.

OW: What is your opinion about opera in our current culture? How does it differ in different cultures?

PA: Opera is an art form that naturally integrates into the social fabric of a society, just as painting, theater, or other artistic expressions do. It reflects the cultural identity and traditions of a nation, serving as both a mirror and a cornerstone of its artistic heritage.

However, the role and reception of opera differ across cultures. In some countries, there is a stronger connection between the public and classical music, particularly opera. This is often due to a combination of cultural factors, such as education systems that prioritize the arts, historical traditions that keep opera alive, and societal values that place importance on artistic engagement. In other nations, including my own, opera’s reach can be more limited due to gaps in cultural education or shifts in public interest. Despite these differences, opera remains a universal language—one that has the power to transcend cultural boundaries and connect people through its beauty, drama, and emotional depth. Its role may vary, but its importance as a timeless art form is undeniable.

OW: What are your upcoming engagements as a conductor?

PA: After “Maria Stuarda” in Copenhagen in January-February 2025, I’ll be conducting “Madama Butterfly” in Dresden. I’m thrilled to return to this theater, where I’ve conducted many times and always feel at home. I believe this will be my third “Butterfly” production, following others I’ve done in different venues. It’s a Puccini title I’m deeply connected to, along with “Tosca” and “La Bohème,” which I’ve also conducted in Dresden.

After that, I’ll be in Hamburg for “Il Trovatore.” Hamburg is another city and theater I love returning to—it’s a place where I feel very comfortable and enjoy working. “Il Trovatore” is a work I debuted in Macerata years ago. It’s always exciting to revisit this repertoire in a city that holds such fond memories for me.

Following that, I’ll be conducting “Aida” and “Nabucco” at the Deutsche Oper in Berlin. “Nabucco,” in a production I’ve conducted several times before, and I’m very eager to return to a theater I deeply admire. As for “Aida,” it will be my first time conducting this opera in Berlin, which makes it a particularly special project. Beyond that, there are more engagements on the horizon, but for now, I’ll focus on these exciting projects.

OW: What has been your experience conducting “Maria Stuarda” and performing in theaters like Copenhagen’s Opera House?

PA: I first performed in Copenhagen in 2013 with “Macbeth,” and I’m delighted to be back now. The opera house is truly spectacular—not only architecturally but also in terms of its advanced technology. It’s an absolute marvel and a joy to work in. As for “Maria Stuarda,” this is the fourth production I’ve conducted, making it perhaps the Donizetti opera I’ve conducted the most. Of course, I’ve conducted others, like “L’elisir d’amore,” but when it comes to Donizetti’s opera seria, “Maria Stuarda” stands out for me. I first conducted it in Berlin, followed by productions in Vienna and Rome, and now here. It’s an opera I know deeply and one I hold in great regard. Its drama and emotional intensity resonate strongly with me, making it a particularly rewarding work to bring to life on stage.

OW: What are the main challenges of conducting a bel canto opera like “Maria Stuarda?”

PA: The challenges of conducting a bel canto opera always begin with a fundamental premise: the conductor must love the art of singing and possess a deep understanding of the technical aspects of vocal performance. Conductors who come from a background as répétiteurs often have an advantage in this repertoire, as they work daily with singers and develop an instinct for their needs—knowing when they need to breathe, how to support them, and how to make their work easier.

Bel canto operas are extraordinarily demanding vocally, requiring a unique sensitivity to the singer’s needs. Each role is essentially tailored to the specific singer performing it, much like a custom-made suit. Just as no two singers are identical, the approach must adapt to their vocal qualities and capabilities. It’s crucial to work with the material at hand, maintaining a flexible and collaborative approach without compromising the overall dramatic structure and vision of the opera.

OW: Did you take a specific approach to highlight the conflict between Maria Stuarda and Elisabetta in the score?

PA: Not particularly, as Donizetti himself crafted the confrontation between the two queens with incredible dramatic effectiveness. The way he composed that scene is so powerful that it doesn’t require additional interpretive tools to bring out the tension—it works brilliantly on its own.

There are other moments in the opera where the dramatic action may need more support or emphasis from the conductor, but the conflict between Maria and Elisabetta is so vividly realized in the score that it naturally takes center stage without the need for significant intervention. My role in those moments is simply to ensure that the inherent drama and emotional intensity are conveyed clearly and authentically.

OW: What kind of reaction do you expect from the Danish audience, considering that bel canto is not traditionally tied to their musical culture?

PA: I expect curiosity. When an audience isn’t frequently exposed to a particular repertoire, it naturally piques their interest. My hope is to satisfy that curiosity with a performance that lives up to the expectations of this city and this remarkable theater. Interestingly, I was told this morning that the last bel canto opera performed here was “Lucia di Lammermoor,” and that was twenty years ago. If true, it highlights the rarity of this repertoire in Denmark, making this production of “Maria Stuarda” even more special. It’s a wonderful opportunity to introduce or reintroduce the audience to the beauty, drama, and intricacy of bel canto, and I look forward to seeing how they respond to this masterpiece.

OW: How does “Maria Stuarda” fit into your artistic journey, and which aspects of this experience will you fondly remember?

PA: From an artistic perspective, “Maria Stuarda” takes me back to my roots. I began my career conducting bel canto repertoire, focusing extensively on Donizetti, Bellini, and Rossini. For a significant period, these composers were at the heart of my work. Over time, I shifted towards other repertoires, especially Verdi, Puccini, and even more contemporary composers. However, returning to bel canto feels like a homecoming—a way to reconnect with my beginnings. Now, nearly thirty years into my career, I approach these works with a different perspective, one shaped by experience and maturity. That said, my respect for the score remains unchanged. Every interpretation is driven by a deep commitment to honoring the composer’s intentions, and this production has been no exception. What I’ll cherish most about this experience is the opportunity to revisit a genre that is so integral to my artistic identity, while bringing the wisdom and insights I’ve gained over the years to this masterpiece.

The post Q & A: Conductor Paolo Arrivabeni on Why His Work Is Never Static & How It Is an Opportunity for Rediscovery and Growth appeared first on OperaWire.

Opera

Salieri’s “Falstaff” opens the season with Francesco Ommassini conducting a production by Paolo Valerio. The cast includes Giulio Mastrototaro, Gilda Fiume, Marco Ciaponi, Michele Patti, Laura Verrecchia, Romano Dal Zovo, and Eleonora Bellocci.

Performance Dates: Jan. 19-26, 2025

Catalani’s “La Wally” will be conducted by Antonio Pirolli and directed by Nicola Berloffa. Maria José Siri leads the cast which also includes Gabriele Sagona, Marianna Mappa, Eleonora Bellocci, Carlo Ventre, Youngjun Park, and Romano Dal Zovo.

Performance Dates: Feb. 16-23, 2025

Lise Lindstrom, Anna Maria Chiuri, Ewa Vesin, Peter Tantsits, and Thomas Tatzl lead Strauss’ “Elektra.” Michael Balke conducts the production by Yamal das Irmich.

Performance Dates: March 16-23, 2025

Galeano Salas, Sara Cortolezzis, and Gëzim Myshketa lead Puccini’s “Le Villi” with Alessandro Cadario conducting. Pier Francesco Maestrini directs.

Performance Dates: Oct. 29-Nov. 2, 2025

Rossini’s “Il Turco in Italia” will star Carlo Lepore, Sara Blanch, Fabio Previati, and Dave Monaco. Lü Jia conducts the production by Roberto Catalano.

Performance Dates: Nov. 16-23, 2025

Verdi’s “Ernani” is set to star Angelo Villari, Amartuvshin Enkhbat, and Alexander Vinogradov. Paolo Arrivabeni conducts the production by Stefano Poda.

Performance Dates: Dec. 14-21, 2025

Concerts 

Gilda Fiume, Krystian Adam, and Adolfo Corrado lead Mozart’s Messa in do minore per soli with Enrico Onofri conducting. The concert also includes music by Haydn.

Performance Dates: Jan. 31-Feb. 1, 2025

György Györiványi Ráth conducts a program of music by Luciano Berio, Béla Bartók, and Zoltan Kodály. The soloist will be determined at a later date.

Performance Dates: April 11 & 12, 2025

Antonio Salieri’s “La Passione di Gesù Cristo” will be conducted by Francesco Ommassini and will star Sara Blanch, Paola Gardina, Santiago Ballerini, and Roberto Lorenzi.

Performance Dates: April 18 & 19, 2025

Marco Angius conducts Prokofiev and Ravel. The mezzo-soprano will be defined at a later date.

Performance Dates: May 9 & 10, 2025

The post Sara Blanch, Maria José Siri & Lise Lindstrom Lead Teatro Filarmonico’s 2025 Season appeared first on OperaWire.

According to reports, the soprano died from cancer in Paris.

Born on Oct. 10, 1988, in Libramont-Chevigny, Belgium, Devos studied at the Institut de Musique et de Pédagogie in Namur and at the Royal Academy of Music in London. In 2014, she went on to win second prize and the audience prize at the Queen Elisabeth Competition. In 2015, she became an honorary citizen of Namur.

Throughout her career, she performed all over the world in many of the prestigious theaters including the Opéra Comique, Opéra Royal de Wallonie, and Opéra National de Montpellier. She also performed in Germany, Holland, Italy, India, Canada, Brazil, and Poland.

Among her collaborators were Paolo Arrivabeni, Mikko Franck, Leonardo García Alarcón, Philippe Jordan, Louis Langrée, Antonello Manacorda, Enrique Mazzola, and Marc Minkowski.

Devos also performed an extensive repertoire that included Adèle in “Die Fledermaus,”  Alice in “Le Comte Ory,” Rosina in “The Barber of Seville,” the title role in Delibes’s “Lakmé,” Eurydice in “Orpheus in the Underworld,” Susanna in “The Marriage of Figaro,” The Queen of the Night in “The Magic Flute,” Zerbinetta in “Ariadne auf Naxos,” Gilda in “Rigoletto,” and Marie in Donizetti’s “The Daughter of the Regiment,” among others.

Devos recorded several albums including “Offenbach: Colorature,” “Mozart: The Vienna Concert,” and “Le Comte Ory.”

Regarding her “Colorature” album OperaWire noted, “A Perfect Celebration of the Composer’s 200th Birthday By A Fascinating Soprano.”

The post Obituary: Belgian Soprano Jodie Devos Dies at 35 appeared first on OperaWire.

Opera

Michele Spotti conducts Bellini’s “Norma” with Anne Delbee directing. Karine Deshayes stars in the title role with Salomé Jicia, Enea Scala, and Patrick Bollei.

Performance Dates: Sept. 26-Oct. 3, 2024

Alexandra Marcellier, Eugénie Joneau, Thomas Bettinger, and Marc Scoffoni star in Puccini’s “Madama Butterfly.” Paolo Arrivabeni conducts Emmanuelle Bastet’s production.

Performance Dates: Nov. 14-24, 2024

Angélique Boudeville, Marianna Pizzolato, Iván Ayon-Rivas, and Simon Lim star in Verdi’s “Requiem.” Michele Spotti conducts.

Performance Date: Jan. 19, 2025

Cristina Pasaroiu stars in Dvorak’s “Rusalka” with Camille Schnoor, Marion Lebegue, Coline Dutilleul, Sébastien Gueze, and Mischa Schelomianski. Lawrence Foster conducts the production by Jean-Philippe Clarac and Olivier Deloeuil.

Performance Dates: Feb. 11-16, 2025

Monteverdi’s “Orfeo” will star Romain Bockler, María Cristina Kiehr, Louise Thomas, Julie Vercauteren, Philippe Favette, Jean-Manuel Candenot, Imanol Iraola, Lise Viricel, Gabrielle Varbetian, and Logan Lopez Gonzalezs.

Performance Date: March 2, 2025

Catherine Hunold, Charlotte Bonnet, Marion Lebegue, Nicolai Schukoff, Alexandre Duhamel, and Nicolas Cavallier star in Reyer’s “Sigurd.” Jean-Marc Zeitouni conducts the production by Charles Roubaud.

Performance Dates: April 1-5, 2025

Michele Spotti conducts Verdi’s “Il Trovatore” with Angélique Boudeville, Aude Extremo, Teodor Ilincai, and Şerban Vasile. Louis Desire directs.

Performance Dates: June 1-10, 2025

Operetta 

Didier Benetti conducts “La Belle de Cadix” with Carole Clin directing. Caroline Gea, Julie Morgane, Laurence Janot, Jérémy Duffau, Gregory Juppin, Dominique Desmons, Gilen Goicoechea, and Antoine Bonelli star.

Performance Dates: Nov. 23 & 24, 2024

Florent Mayet conducts “Le Grand Mogol” in Yves Coudray’s production. Julia Knecht, Caroline Gea, Jérémy Duffau, Frédéric Cornile, Gilen Goicoechea, and Dominique Desmons.

Performance Dates: Jan. 25 & 26, 2025

Laurence Janot, Carole Clin, Sabrina Kilouli, Matthieu Justine, Jean-Claude Calon, Marc Barrard, Philippe Ermelier, Alfred Bironien, and Frédéric Cornille star in Offenbach’s “La Belle Hélène.” Didier Benetti conducts the production by Bernard Pisani.

Performance Dates: Feb. 22 & 23, 2025

Jan Latron conducts “La Petite Sirène” with a cast that includes Apolline Rai-Westphal, Marion Vergez-Pascal, Marion Lebegue, and Sebastian Monti. Bérénice Collet directs.

Performance Dates: April 3 & 5, 2025

Christian et André Mornet lead “Au pays du soleil” in a production by Carole Clin. The cast includes Camille Mesnard, Julie Morgane, Anny Vogel, Perrine Cabassud, Fabrice Todaro, Philippe Fargues, Gregory Juppin, and Jean-Luc Épitalon.

Performance Dates: April 26 & 27, 2025

Julie Morgane, Cécile Galois, Perrine Cabassud, Carole Clin, Sébastien Lemoine, Fabrice Todaro, Philippe Beranger, Jean-Luc Épitalon, Claude Deschamps, and Jean Goltier star in ” La Mélodie du bonheur.” Carole Clin directs the production while Didier Benetti conducts.

Performance Dates: May 24 & 25, 2025

“Les Dimanches d’Offenbach” will showcase Louise Pingeot, Dominique Desmons, Frank Thezan, Charles Mesrine, Aurélie Fargue, Julia Knecht, Louise Pingeot, Xavier Mauconduit, Dominique Desmons, and Nicolas Bercet.

Performance Dates: March 9 & April 6, 2025

Concerts

Michele Spotti conducts “L’Opéra fête son siècle” with Csilla Boross, Patrizia Ciofi, Enea Scala, Juan Jésus Rodriguez, Marc Barrard, and Nicolas Courjal.

Performance Date: Dec. 3, 2024

Michele Spotti and Regula Muhlemann perform music by Mahler and Schonberg.

Performance Date: Dec. 8, 2024

Didier Benetti conducts the New Year’s Eve concert with soloists Laurence Janot, Florian Laconi, Sébastien Lemoine, and Jean-Claude Clon.

Performance Date: Dec. 31, 2024

Valentin Uryupin and Marina Monzo lead a program of music by Stravinsky, Manuel de Falla, Delibes, Rodrigo, and Britten.

Performance Date: Feb. 23, 2025

The post Karine Deshayes, Enea Scala, Cristina Pasaroiu & Iván Ayon-Rivas Lead Opéra de Marseille’s 2024-25 Season appeared first on OperaWire.

Premieres

Respighi’s “La Fiamma” will be directed by Christof Loy and conducted by Carlo Rizzi. The cast will include Aušrine Stundyte, Georgy Vasiliev, Vladislav Sulimsky, Martina Serafin, Sua Jo, Cristina Toledo, Martina Baroni, Karis Tucker, Caren Van Oijen, Doris Soffel, and Patrick Guetti.

Performance Dates: Sept. 29-Oct. 18, 2024

Enrique Mazzola conducts a new production of Verdi’s “Macbeth” with Marie-Ève Signeyrole directing. The production will star two casts led by Roman Burdenko and Thomas Lehman in the title role and Anastasia Bartoli and Felicia Moore as Lady Macbeth. The cast will be rounded out by Marko Mimica, Byung Gil Kim, Attilio Glaser, and Andrei Danilov.

Performance Dates: Nov. 23, 2024-Jan. 25, 2025

Tobias Krazter directs a new production of Strauss’ “Die Frau ohne Schatten.” The opera will star David Butt Philip, Jane Archibald, Marina Prudenskaya, Jordan Shanahan, and Catherine Foster. Sir Donald Runnicles conducts.

Performance Dates: Jan. 26-Feb. 11, 2025

Donizetti’s “Lucia di Lammermoor” will star Dean Murphy, Markus Brück, Serena Sáenz, Hila Fahima, Adela Zaharia, Andrei Danilov, Long Long, Gerard Farreras, and Byung Gil Kim. Matteo Beltrami and Ivan Repušić conduct.

Performance Dates: Oct. 31-Dec. 18, 2024

Mozart’s “The Fairy Tale of the Magic Flute” will star Alexandra Oomens, Lilit Davtyan, Hye-Young Moon, Chance Jonas-O’Toole, Kangyoon Shine Lee, Andrew Harris, and Patrick Guetti. Friedrich Praetorius conducts.

Performance Dates: Nov. 22, 2024-April 15, 2025

Elena Stikhina and Sondra Radvanovsky star in Puccini’s “Tosca” alongside Martin Muehle, Fabio Sartori, Lucio Gallo, and Erwin Schrott. Giampaolo Bisanti and Valerio Galli conduct.

Performance Dates: Nov. 6, 2024-June 19, 2025

Zemlinsky’s “Der Zwerg” will be conducted by Sir. Donald Runnicles and will star Elena Tsallagova, Felicia Moore, David Butt Philip, and Philipp Jekal.

Performance Dates: Dec. 1-10, 2024

Alessandro De Marchi conducts Rossini’s “Il Viaggio a Reims” with Lilit Davtyan, Stephanie Wake-Edwards, Hye-Young Moon, Hulkar Sabirova, Kangyoon Shine Lee, Omar Mancini, Joel Allison, Artur Garbas, Philipp Jekal, Kyle Miller, Padraic Rowan, Chance Jonas-O’Toole, Alexandra Ionis, Alexandra Oomens, Davia Bouley, and Jared Werlein. 

Performance Dates: Dec. 27, 2024-Jan. 6, 2025

Janáček’s “The Cunning Little Vixen” will star Joel Allison, Geon Kim, Meechot Marrero, Alexandra Oomens, Arianna Manganello, and Martina Baroni. Marko Letonja conducts.

Performance Dates: Dec. 19, 2024-Jan. 5, 2025

Karis Tucker, Annika Schlicht, Meechot Marrero, and Nina Solodovnikova lead Humperdinck’s “Hansel and Gretel” with Burkhard Ulrich, Patrick Cook, Artur Garbas, and Maria Motolygina. Friedrich Praetorius conducts.

Performance Dates: Dec. 13-28, 2024

Sir. Donald Runnicles and Friedrich Praetorius lead Puccini’s “La Boheme” with Andrei Danilov, Attilio Glaser, Kyle Miller, Philipp Jekal, Dean Murphy, Geon Kim, Patrick Guetti, Byung Gil Kim, Maria Motolygina, Elena Tsallagova, Alexandra Oomens, and Nina Solodovnikova.

Peformance Dates: Dec. 6-31, 2024

Andrei Danilov, Etienne Dupuis, Juan Jesús Rodríguez, Brenda Rae, and Hye-Young Moon star in Verdi’s “Rigoletto” with Patrick Guetti, Tobias Kehrer, Stephanie Wake-Edwards, and Lindsay Ammann. Michele Spotti, Friedrich Praetorius, and Giulio Cilona conduct.

Performance Dates: Jan. 10-June 6, 2025

Petr Popelka and Sir. Donald Runnicles conduct “Tristan und Isolde” with a cast that includes Clay Hilley, Albert Pesendorfer, Georg Zeppenfeld, Derek Welton, Ricarda Merbeth, Stéphanie Müther, Thomas Lehman, Leonardo Lee, Jörg Schörner, Irene Roberts, and Annika Schlicht.

Performance Dates: Oct. 27, 2024-Jan. 18, 2025

Saioa Hernández stars in Puccini’s “Turandot” with Clay Hilley, Sua Jo, Maria Motolygina, and Byung Gil Kim. Jordan de Souza conducts.

Performance Dates: Feb. 1-14, 2025

Wagner’s “Der Fliegende Holländer” will star Derek Welton and Anthony Clark Evans alongside Patrick Guetti, Gabriela Scherer, Flurina Stucki, Attilio Glaser, Kieran Carrel, Stephanie Wake-Edwards, Chance Jonas-O’Toole, and Andrei Danilov. John Fiore and Giulio Cilona conduct.

Performance Dates: Feb. 16-April 26, 2025

Thomas Lehman, Padraic Rowan, Karis Tucker, Elissa Pfaender, Davia Bouley, Alfred Kim, Heidi Stober, and Hye-Young Moon star in John Adams’ “Nixon in China.” Daniel Carter conducts the masterwork.

Performance Dates: Feb 28-March 5, 2025

Olesya Golovneva stars in Strauss’ “Salome” with Thomas Blondelle, Evelyn Herlitzius, Jordan Shanahan, and Kieran Carrel. Keri-Lynn Wilson conducts.

Performance Dates: March 8 & 14, 2025

Strauss’ “Elektra” will star Violeta Urmana, Elena Pankratova, Camilla Nylund, Burkhard Ulrich, and Tobias Kehrer. Thomas Søndergard conducts.

Performance Dates: March 22-April 1, 2025

Strauss’ “Arabella” will star Albert Pesendorfer, Doris Soffel, Jennifer Davis, Heidi Stober, Thomas Johannes Mayer, and Sean Panikkar. Sir. Donald Runnicles conducts.

Performance Dates: March 7-20, 2025

Sir. Donald Runnicles conducts Strauss’ “Intermezzo” with Philipp Jekal, Maria Bengtsson, Elliott Woodruff, Anna Schoeck, Thomas Blondelle, and Clemens Bieber.

Performance Dates: March 13-23, 2025

Wagner’s “Die Meistersinger von Nürnberg” will star Thomas Johannes Mayer, Albert Pesendorfer, Magnus Vigilius, Chance Jonas-O’Toole, Elena Tsallagova, and Annika Schlicht. Ulf Schirmer conducts.

Performance Dates: April 12-27, 2025

Attilio Glaser takes on the title role of Wagner’s “Lohengrin” with Flurina Stucki, Jordan Shanahan, Nina Stemme, Dean Murphy, and Byung Gil Kim. Ivan Repušić conducts.

Performance Dates: April 6-20, 2025

Rued Langgaard’s “Antikrist” will star Kyle Miller, Jonas Grundner-Culemann, Maria Vasilevskaya, Arianna Manganello, Thomas Cilluffo, Martina Baroni, Flurina Stucki, and Thomas Blondelle. Stephan Zilias conducts.

Performance Dates: April 24 & May 2, 2025

Verdi’s “Les Vêpres Siciliennes” will be conducted by Dominic Limburg and stars Hulkar Sabirova, Valentyn Dytiuk, George Petean, and Roberto Tagliavini.

Performance Dates: May 18-31, 2025

Daniel Okulitch, Georgia Jarman, Aryeh Nussbaum Cohen, Anna Werle, and Thomas Blondelle star in George Benjamin’s “Written on Skin” with Marc Albrecht conducting.

Performance Dates: May 4-20, 2025

Paolo Arrivabeni conducts Verdi’s “Nabucco” with Juan Jesús Rodríguez, Amartuvshin Enkhbat, Jorge Puerta, Liang Li, Ewa Płonka, and Karis Tucker.

Performance Dates: May 10-23, 2025

Jonathan Tetelman leads a star-studded cast for Verdi’s “Don Carlo” with Alex Esposito, Gihoon Kim, Patrick Guetti, Federica Lombardi, and Irene Roberts. Sir. Donald Runnicles conducts.

Performance Dates: May 8-29, 2025

Verdi’s “Aida” will star Tobias Kehrer, Judit Kutasi, Hulkar Sabirova, SeokJong Baek, Byung Gil Kim, and George Petean. Paolo Arrivabeni conducts.

Performance Dates: May 3-22, 2025

Tchaikovsky’s “The Queen of Spades” will star Brian Jagde, Sara Jakubiak, Jennifer Larmore, Lucio Gallo, Thomas Lehman, and Karis Tucker. Juraj Valčuha conducts.

Performance Dates: June 21-29, 2025

Gregory Kunde, Pavel Yankovsky, and Sondra Radvanovsky star in Giordano’s “Andrea Chenier.” Axel Kober conducts.

Performance Dates: May 30-June 7, 2025

Mozart’s “Die Zauberflote” will showcase several casts with Tobias Kehrer, Patrick Guetti, Andrei Danilov, Kieran Carrel, Kangyoon Shine Lee, Matthew Newlin, Attilio Glaser, Markus Brück, Padraic Rowan, Michael Bachtadze, Joel Allison, Hye-Young Moon, Lilit Davtyan, Nina Solodovnikova, Hye-Young Moon, Alexandra Oomens, Sua Jo, Philipp Jekal, Artur Garbas, Chance Jonas-O’Toole, Burkhard Ulrich, and Thomas Cilluffo. Petr Popelka and Sir. Donald Runnicles conduct.

Performance Dates: Sept. 15, 2024-July 12, 2025

“Emersion” will showcase Flurina Stucki and Geon Kim.

performance Dates: July 11-13, 2025

Playground Festival will see the Deutsche Oper Berlin transformed into a techno club.

Performance Date: July 19, 2025

Concerts 

Sir. Donald Runnicles conducts a program of Verdi, Respighi, and Nono. The concert includes soloists Lilit Davtyan, Thomas Cilluffo, Federica Lombardi, and Roberto Alagna.

Performance Date: Sept. 10, 2024

Arianna Manganello, Andrei Danilov, and Nina Solodovnikova perform Italian songs alongside John Parr.

Performance Date: Oct. 22, 2024

There will be a Festive opera night for the German Aids Foundation.

Performance Date: Nov. 2, 2024

Hye-Young Moon and Christine Buffle sing Ravel and Strauss with John Parr.

Performance Date: Feb. 4, 2025

Maxime Pascal and Marianne Crebassa lead a program of music by Rimsky-Korsakov and Ravel.

Performance Date: Feb. 10, 2025

Lilit Davtyan, Chance Jonas-O’Toole, and Jared Werlein perform Haydn and Mozart with John Parr.

Performance Date: April 23, 2025

Flurina Stucki, Artur Garbas, Kieran Carrel, and John Parr perform Strauss.

Performance Date: May 7, 2025

The post Jonathan Tetelman, Aigul Akhmetshina, Aušrine Stundyte, David Butt Philip & Sondra Radvanovsky lead Deutsche Oper Berlin’s 2024-25 Season appeared first on OperaWire.

Premieres 

Samuel Penderbayne’s “Wir pfeifen auf den Gurkenkönig” will be conducted by Thomas Barthel and Ann-Katrin Stöcker. Claudia Blersch directs the production which will star Liliana Nikiteanu, Sylwia Salamonska, Irène Friedli, Philipp Mayer, Stanislav Vorobyov, Valeriy Murga, Gary Martin, Martin Zysset, Carl Hieger, Christian Sturm, Indyana Schneider, Céline Akçağ, Sylwia Salamonska, and Rebeca Olvera.

Performance Dates: Sept. 15, 2025 – Feb. 5, 2025

Daniela Köhler and Brandon Jovanovich lead Strauss’ “Ariadne auf Naxos” with Martin Gantner, Ziyi Dai, Lauren Fagan, and Kurt Rydl. Andreas Homoki directs and Markus Poschner conducts.

Performance Dates: Sept. 22 – Oct. 22, 2024

Handel’s “Serse” will star Raffaele Pe, Christophe Dumaux, Noa Beinart, Anna El-Khashem, Miriam Kutrowatz, Miklos Sebestyén, and Gregory Feldmann. Enrico Onofri conducts and Nina Russi directs.

Performance Dates: Sept. 29 – Oct. 17, 2024

Alfred Schnittke’s “Leben mit einem Idioten” will be conducted by Jonathan Stockhammer and directed by Kirill Serebrennikov. Bo Skovhus, Susanne Elmark, Matthew Newlin, Magnus Piontek, Álvaro Diana Sanchez, and Birger Radde.

Performance Dates: Nov. 3 – Dec. 1, 2024

Jonathan Dove’s “In 80 Tagen um die Welt” will make its world premiere with Michael Richter conducting the production by Peter Lund.  The cast includes Rebeca Olvera, Alina Adamski, Indyana Schneider, Yajie Zhang, Andrew Owens, Christopher Willoughby, Felix Gygli, Nicholas Mogg, Ruben Drole, Andrew Moore, Flavia Stricker, Sylwia Salamonska, Irène Friedli, Liliana Nikiteanu, Christian Sturm, and Tomislav Jukic.

Performance Dates: Nov. 17, 2024 – Jan. 14, 2025

Gianandrea Noseda conducts a new production of Verdi’s “Un Ballo in Maschera” with Adele Thomas directing. Charles Castronovo, George Petean, Erika Grimaldi, Katharina Konradi, and Agnieszka Rehlis star.

Performance Dates: Dec. 8, 2024 – Jan. 19, 2025

Puccini’s “Manon Lescaut” will get a new production by Barrie Kosky. Marco Amiliato conducts a cast that includes Elena Stikhina, Saimir Pirgu, and Konstantin Shushakov. 

Performance Dates: Feb. 9 – March 22, 2025

Rossini’s “Il viaggio a Reims” will be conducted by Dominic Limburg. 

Performance Dates: Feb. 28 & March 2, 2025

Nahuel Di Pierro, Anna Bonitatibus, Christophe Dumaux, Lea Desandre, Jakub Józef Orliński, José Coca Loza, Hagen Matzeit, and Yannick Debus star in Handel’s “Agrippina.” Harry Bicket conducts the new production by Jetske Mijnssen.

Performance Dates: March 2 – 30, 2025

“Das grosse Feuer” by Beat Furrer will be conducted by Beat Furrer and directed by Tatjana Gürbaca. Leigh Melrose, Andrew Moore, Liliana Nikiteanu, Sarah Aristidou, Elina Viluma-Helling, Ruben Drole, Johanna Zimmer, Hugo Paulsson Stove, Matias Bocchio, Christoph Brunner, Cornelia Sonnleither, and Bernd Lambauer.

Performance Dates: March 23 – April 11, 2025

Korngold’s “Die tote Stadt” will be conducted by Lorenzo Viotti and directed by Dmitri Tcherniakov. The cast is headed by Eric Cutler, Vida Miknevičiūtė, Björn Bürger, Evelyn Herlitzius, and Rebeca Olvera.

Performance Dates: April 21 – June 1, 2025

Christian Gerhaher stars in Mendelssohn’s “Elias” with Julia Kleiter, Mauro Peter, and Wiebke Lehmkuhl. Gianandrea Noseda conducts the production by Andreas Homok.

Performance Dates: June 9 – July 6, 2025

Revivals 

Boris Pinkhasovich, Nina Minasyan, Piotr Buszewski, and Maxim Kuzmin-Karavaev star in Donizetti’s “Lucia di Lammermoor” which will be conducted by Leonardo Sini.

Performance Dates: Sept 20 – Oct. 26, 2024

Christian Gerhaher headlines Verdi’s “Simon Boccanegra” with Jennifer Rowley, Christof Fischesser, and Omer Kobiljak. Paolo Arrivabeni conducts.

Performance Dates: Sept. 27 – Oct. 25, 2024

Wagner’s “Der fliegende Holländer” will be conducted by Gianandrea Noseda and directed by Camilla Nylund, Liliana Nikiteanu, Tomasz Konieczny, Dimitry Ivashchenko, Marco Jentzsch, and Omer Kobiljak.

Performance Dates: Nov. 21 – Dec. 10 2024

Andrè Schuen, Elbenita Kajtazi, Andrew Moore, Nikola Hillebrand, and Kady Evanyshyn star in Mozart’s “Le Nozze di Figaro” with Antonello Manacorda conducting.

Performance Dates: Dec. 15, 2024 – Jan. 2, 2025

Marina Rebeka stars in Puccini’s “Madama Butterfly” with Judith Schmid, Tomislav Mužek, and Massimo Cavalletti. Marco Armiliato conducts.

Performance Dates: Dec. 22, 2024 – Jan. 4, 2025

Julie Fuchs, Stephen Costello, Nicolas Testé, and Svetlina Stoyanova star in Gounod’s “Romeo et Juliette” which will be conducted by Timur Zangiev.

Performance Dates: Dec. 31, 2024 – Jan. 26, 2025

Andrew Moore, Simon Neal, Eric Cutler, Jennifer Holloway, Christof Fischesser, Ziyi Dai, and Andrew Owens star in Beethoven’s “Fidelio.” Krzysztof Urbański conducts.

Performance Dates: Jan. 21 – Feb. 15, 2025

Ben Glassberg conducts Lehar’s “The Merry Widow” with Michael Kraus, Anastasiya Taratorkina, Michael Volle, Vida Miknevičiūtė, and Andrew Owens.

Performance Dates: March 4-26, 2025

Wagner’s “Lohengrin” will star Christof Fischesser, Piotr Beczała, Simone Schneider, Martin Gantner, Anna Smirnova, and Michael Kraus. Axel Kober conducts.

Performance Dates: April 13 – May 4, 2025

Liparit Avetisyan, Quinn Kelsey, Brenda Rae, Brent Michael Smith, and Elena Maximova star in Verdi’s “Rigoletto” with Andrea Sanguineti conducting.

Performance Dates: April 26 – May 15, 2025

“Jakob Lenz” will star Yannick Debus and Maximilian Lawrie and will be conducted by Adrian Kelly.

Performance Dates: May 6 – 16, 2025

Pietro Spagnoli, Florian Sempey, Konstantin Shushakov, Andrew Owens, and Olga Peretyatko star in Donizetti’s “Don Pasquale.” Iván López-Reynoso conducts.

Performance Dates: May 18 – June 3, 2025

Simone Young conducts Strauss’ “Salome” with John Daszak, Michaela Schuster, Elena Stikhina, Kostas Smoriginas, and Omer Kobiljak.

Performance Dates: May 29 – June 15, 2025

Saimir Pirgu headlines Offenbach’s “Les Contes d’Hoffmann” with Marina Viotti, Katrina Galka, Adriana Gonzalez, Lauren Fagan, Maria Stella Maurizi, and Andrew Foster-Williams. Antonino Fogliani conducts.

Performance Dates: June 28 – July 12, 2025

Krystian Adam, Mirco Palazzi, and Mark Milhofer star in Monteverdi’s “L’Orfeo” with Ottavio Dantone conducting.

Performance Dates: May 17 – July 11, 2025

Concerts 

Riccardo Minasi conducts a program of music by Telemann and Bach with Carolyn Sampson, Philipp Mahrenholz, and Balázs Nemes.

Performance Dates: Dec. 16, 2024

Gianandrea Noseda conducts Hanna-Elisabeth Müller in Strauss.

The company will present a Benefit concert for the International Opera Studio with the participation of Cecilia Bartoli and conducted by Gianluca Capuano. 

Performance Dates: June 15, 2025

Fabio Luisi conducts a gala concert with Camilla Nylund and Klaus Florian Vogt.

Performance Dates: July 5 & 10, 2025

The Galakonzert Internationales Opernstudio will be conducted by Adrian Kelly.

Performance Dates: July 7, 2025

The post Brandon Jovanovich, Elena Stikhina, Anna Bonitatibus & Christian Gerhaher Lead Opernhaus Zürich’s 2024-25 Season appeared first on OperaWire.

Premieres

Arrigo Boito’s “Mefistofele” is conducted by Andrea Battistoni and directed by Eva-Maria Höckmayr. The production will star Krzysztof Bączyk, Bekhzod Davronov, Marjukka Tepponen, and Martina Gedeck.

Performance Dates: Sept. 28-Oct. 24, 2024

Richard Strauss’s “Intermezzo” will be conducted by Patrick Hahn and directed by Axel Ranisch. The cast will include Maria Bengtsson, Christoph Pohl, Ute Selbig, James Ley, and Jürgen Müller.

Performance Dates: Nov. 1-Dec. 9, 2024

Sergej Prokofjew’s “The Love for Three Oranges” will be directed by Evgeny Titov and conducted by Erik Nielsen. The cast will include Georg Zeppenfeld, Mauro Peter, Nadezhda Karyazina, Aaron Pegram, and Flurina Stucki.

Performance Dates: Dec. 7, 2024-Jan. 3, 2025

Pedro Beriso & Mart van Berckel’s “Ändere die Welt!” is conducted by Pedro Beriso and directed by Mart van Berckel. Magdalena Lucjan, Fernanda Allande, Anton Beliaev, Vladyslav Buyalskiy, and Amara van der Elst star.

Performance Dates: Dec. 19-Jan. 7, 2025

Maurice Ravel’s “Das Kind und der Zauberspuk” will star Nicole Chirka, Michal Doron, Magdalena Lucjan, and Jasmin Delfs. Elias Grandy conducts the production by James Bonas.

Performance Dates: Feb. 16-March 19, 2025

Kaija Saariaho’s “Innocence” is conducted by Maxime Pascal and directed by Lorenzo Fioroni. Paula Murrihy, Rosalia Cid, Anu Komsi, Mario Lerchenberger, and Markus Butter star in the production.

Performance Dates: March 15-April 11, 2025

Tuuli Takala, Oleksandr Pushniak, Liparit Avetisyan, Valerie Eickhoff, Danylo Matviienko, and Georg Zeppenfeld star in Gound’s “Roméo et Juliette.” Robert Jindra conducts the production Barbara Wysocka.

Performance Dates: May 3-June 8, 2025

David Butt Philip, Erin Morley, Tichina Vaughn, and Christoph Pohl star in Leonard Bernstein’s “Candide.” Karen Kamensek conducts.

Performance Dates: May 11-18, 2025

Florian Boesch, Jake Arditti, Jasmin Delfs, Mary Bevan, and James Ley star in Georg Friedrich Händel’s “Saul.” The production will be directed by Claus Guth and conducted by  Leo Hussain.

Performance Dates: June 1-July 2, 2025

Leonard Evers’ “humanoid” will be conducted by Chloé Dufresne and directed by Lars Marcel Braun. Sofia Savenko, Dominika Škrabalová, Johannes Wieners, Jongwoo Hong, Gerrit Illenberger, and Andreas Scheibner.

Performance Dates: June 13-25, 2025

Repertoire 

Axel Kober conducts Wagner’s “Der fliegende Holländer“ with a cast that includes Michael Volle, Jennifer Holloway, Georg Zeppenfeld, Christa Mayer, Tomislav Mužek, and Mario Lerchenberger.

Performance Dates: August 29-Sept. 20, 2024

Anton Rositskiy, Ante Jerkunica, Jérôme Boutillier, Tilmann Rönnebeck, Aaron Pegram, Vladyslav Buyalskiy, Jürgen Müller, Matthias Henneberg, Tuuli Takala, Štěpánka Pučálková, and Anton Beliaev star in Berlioz’s “Benvenuto Cellini.” Giampaolo Bisanti conducts.

Performance Dates: August 30-Sept. 29, 2024

Christoph Pohl, Danylo Matviienko, Julia Kleiter, Elena Gorshunova, Anna El-Khashem, Elsa Benoit, Michael Nagl, and Cecilia Molinari star in Mozart’s “Le Nozze di Figaro.” Riccardo Minasi and Andrés Orozco-Estrada conduct. 

Performance Dates: Sept. 3, 2024-March 29, 2025

Daniele Squeo conducts Rossini’s “Il Barbiere di Siviglia” with Jonah Hoskins, Misha Kiria, Valerie Eickhoff, Joshua Hopkins, and Aleksei Kulagin.

Performance Dates: Sept. 4-21, 2024

Three casts will be showcased in the revival of Mozart’s “Die Zauberflöte” with Georg Zeppenfeld, Dimitry Ivashchenko, Tilmann Rönnebeck, Julia Sitkovetsky, Maria Perlt-Gärtner, Maria Perlt-Gärtner, Victoria Randem, Tuuli Takala, Heidi Stober, James Ley, Magnus Dietrich, Michael Nagl, Danylo Matviienko, Timothy Oliver, Aaron Pegram, Markus Marquardt, Sofia Savenko, Martin-Jan Nijhof, and Magdalena Lucjan. Gaetano d’Espinosa, Katharina Müllner, and Giulio Cilona conduct. 

Performance Dates: Sept. 6, 2024-June 6, 2025

“Drei miese, fiese Kerle” will star Larissa Wäspy, Christiane Hossfeld, Sarah Alexandra Hudarew, Doğukan Kuran, and Daniel Pastewski. David Preil conducts. 

Performance Dates: Sept. 7-19, 2024

Gregory Kunde and Najmiddin Mavlyanov star in Verdi’s “Otello” alongside Alexey Markov and Polina Pastirchak. Timur Zangiev conducts.

Performance Dates: Oct. 2-19, 2024

Martin Gerke, Franziska Schuster, Christian Venzke, Bettina Weichert, and Til Ormeloh star in “Woyzeck.“ Max Renne conducts.

Performance Dates: Oct. 2-15, 2024

David Afkam conducts Beethoven’s “Fidelio” with a cast that includes David Butt Philip, Markus Marquardt, Marlis Petersen, Jasmin Delfs, Georg Zeppenfeld, Mario Lerchenberger, and Neven Crnić.

Performance Dates: Oct. 3-26, 2024

Puccini’s “La bohème” will star Marjukka Tepponen, Tuuli Takala, Elbenita Kajtazi, Slávka Zámečníková, Rosalia Cid, Tomislav Mužek, Bekhzod Davronov, Long Long , Navasard Hakobyan, Danylo Matviienko, Gerrit Illenberger, Aleksei Kulagin, Alexander Kopeczi, Anton Beliaev, and Alexandros Stavrakakis. Stefano Ranzani, and Antonello Allemandi conduct.

Performance Dates: Oct. 20, 2024-June 27, 2025

Amanda Majeski stars in Strauss’ “Salome” with Markus Marquardt, Mario Lerchenberger, and Evelyn Herlitzius. Juraj Valčuha conducts.

Performance Dates: Nov. 2-10, 2024

Tuuli Takala and Emily Pogorelc star in Verdi’s “La Traviata” with Piotr Buszewski, Bekhzod Davronov, James Rutherford, and Christoph Pohl. Gaetano d’Espinosa and Marta Gardolińska alternate at the podium. 

Performance Dates: Nov. 9, 2024-Jan. 25, 2025

Humperdinck’s “Hänsel und Gretel” returns for the Holidays with two casts. The opera will star Nicole Chirka, Valerie Eickhoff, Andrea Carroll, Christina Gansch, Markus Marquardt, Oleksandr Pushniak, Christa Mayer, and Evelyn Herlitzius. John Fiore conducts. 

Performance Dates: Dec. 10-26, 2024

J. Strauss’ “Die Fledermaus“ will be star Christoph Pohl, Flurina Stucki, Mario Lerchenberger, Josy Santos, Jasmin Delfs, and Rafael Fingerlos. Marcus Merkel conducts. 

Performance Dates: Dec. 31, 2024-Jan. 17, 2025

“The Toxic Avenger” will be conducted by Alexander Hoetzinger and will star Lukas Witzel, Lara Hofmann, and Anna Overbeck.

Performance Dates: Jan. 16-30, 2025

Georg Fritzsch conducts Weber’s “Der Freischütz” with Markus Butter, Tilmann Rönnebeck, Golda Schultz, Mirjam Mesak, Ante Jerkunica, and Maximilian Schmitt.

Performance Dates: Feb. 15-28, 2025

Marjukka Tepponen, Christa Mayer, Tomislav Mužek, and Neven Crnić star Puccini’s “Madama Butterfly.” Paolo Arrivabeni conducts.

Performance Dates: Feb. 22-March 16, 2025

Pavol Breslik takes on the title role of Wagner’s “Lohengrin” with Georg Zeppenfeld, Johanni van Oostrum, Markus Marquardt, Anja Kampe, and Birger Radde. Sebastian Weigle conducts. 

Performance Dates: March 30-April 6, 2025

Maria Agresta, Joseph Calleja, and Erwin Schrott star in Puccini’s “Tosca” with Marco Armiliato conducting.

Performance Dates: April 5-May 1, 2025

Pretty Yende stars in Donizetti’s “Lucia di Lammermoor” with Bekhzod Davronov, Neven Crnić, and Peter Kellner. Roberto Rizzi Brignoli conducts

Performance Dates: April 20-May 8, 2025

Alejo Pérez conducts Puccini’s “Turandot” with a cast that includes Elisabeth Teige, Aleksei Kulagin, Yonghoon Lee, and Elbenita Kajtazi.

Performance Dates: June 7-22, 2025

Oksana Lyniv conducts Tchaikovsky’s “Eugene Onegin” with Sabine Brohm, Marjukka Tepponen, Nicole Chirka, Thomas Atkins, Danylo Matviienko, and Tareq Nazmi.

Performance Dates: July 3-11, 2025

The post Erin Morley, David Butt Philip, Pretty Yende, Maria Agresta & Maria Bengtsson Lead Semperoper Dresden’s 2024-25 Season appeared first on OperaWire.

Premieres

First up is Carl Orff’s “Trionfi.” Calixto Bieito directs a cast starring Nicole Chevalier, Florian Panzieri, Sandra Hamaoui, and Oleksiy Palchykov, among others. Kent Nagano conducts.

Performance Dates: Sept. 21 – Oct. 12, 2024

“Der Freischütz” stars Andrzej Dobber, Hubert Kowalczyk, Julia Kleiter, Alina Wunderlin, and Johan Reuter. Yoel Gamzou conducts and Andreas Kriegenburg directs the production.

Performance Dates: Nov. 17 – Dec. 5, 2024

“Ariadne auf Naxos” will be directed by Dmitri Tcherniakov and conducted by Kent Nagano. Yuriy Mynenko, Jamez McCorkle, Anja Kampe, Martin Gantner, and Nadezhda Pavlova star.

Performance Dates: Jan. 26 – Feb. 16, 2025

Robert Murray, Nikola Hillebrand, Olivia Boen, Adriana Bignani Lesca, and Seungwoo Simon Yang star in “Mitridate, re di Ponto.” Birgit Kajtna-Wönig directs and Adam Fischer conducts.

Performance Dates: Feb. 23 – June 26, 2025

Ermonela Jaho stars in “Maria Stuarda,” directed by Karin Beier and conducted by Antonino Fogliani. She is joined by Barno Ismatullaeva, Long Long, Gezim Myshketa, and Alexander Roslavets.

Performance Dates: March 16 – April 2, 2025

Unsuk Chin’s “Die dunkle Seite des Mondes” will be conducted by Kent Nagano and produced by Dead Centre. Bo Skovhus, Siobhan Stagg, Thomas Lehman, Hellen Kwon, and Narea Son star.

Performance Dates: May 18 – June 5, 2025

Georges Delnon directs Bruneau-Boulmier’s “Die Illusionen des William Mallory.” Kent Nagano conducts.

Performance Dates: May 24 – June 1, 2025

Revivals

“Carmen” stars Vittorio Grigolo, Ginger Costa-Jackson, Narea Son, and Chao Deng. Giacomo Sangripanti conducts.

Performance Dates: Sept. 24 – Oct. 10, 2024

Alexander Tsymbalyuk stars in “Boris Godunov.” He is joined by Ida Aldrian, Marie Maidowski, Alexander Vinogradov, Alexey Bogdanchikov, Matthias Klink, and Renate Spingler, among others. Kent Nagano conducts.

Performance Dates: Oct. 3 – 11, 2024

Giampaolo Bisanti conducts “Tosca,” starring Carmen Giannattasio, Ambrosio Maestri, and Young Woo Kim. The second cast stars Maria Agresta, Gabriele Viviani, and Michael Fabiano. Nicola Luisotti conducts.

Performance Dates: Oct. 15, 2024 – May 28, 2025

Oleksiy Palchykov, Angela Brower, Kady Evanyshyn, Olivia Boen, Tara Erraught, and William Guanbo Su star in “La Clemenza di Tito.” Ben Glassberg conducts.

Performance Dates: Oct. 16 – 26, 2024

Alessio Arduini, Luca Pisaroni, Narea Son, Dovlet Nurgeldiyev, Alexander Roslavets, Rachael Wilson, Hera Hyesang Park, David Minseok Kang, and Anne Müller star in “Don Giovanni.”

Performance Dates: Oct. 25 – Nov. 3, 2024

Iréne Theorin headlines “Elektra” alongside Violeta Urmana, Kyle Ketelsen, John Daszak, and Jennifer Holloway. Kent Nagano conducts the revival.

Performance Dates: Nov. 10 – 19, 2024

Selene Zanetti stars in “Luisa Miller” alongside George Gagnidze and Giorgio Berrugi. Adam Palka and Brindley Sherratt round out the cast. Lorenzo Passerini conducts.

Performance Dates: Nov. 24 – Dec. 4, 2024

Freddie de Tommaso, Yaritza Véliz, Katrina Galka, and Gyula Orendt headline “La Bohème.” Carlo Montanaro conducts.

Performance Dates: Dec. 1 – 17, 2024

“Hansel and Gretel” will star Ida Aldrian and Olivia Boen. They are joined by Katja Pieweck, Kartal Karagedik, and Hellen Kwon. Adam Hickox conducts.

Performance Dates: Dec. 15 – 25, 2024

“Die Zauberflöte” will be conducted by Leo Hussain. He leads a cast starring Adriana González, Alexander Roslavets, Aleksandra Olczyk, and Seungwoo Simon Yang.

Performance Dates: Dec. 21, 2024 – Jan. 17, 2025

“Der Fliegende Holländer” stars Wendy Bryn Harmer, Tomasz Konieczny, Benjamin Bruns, and Liang Li. Kent Nagano conducts.

Performance Dates: Jan. 8 – 19, 2025

Elsa Dreisig and Enea Scala star in “Manon,” alongside Alexey Bogdanchikov, Tigran Martirossian, and James Kryshak.

Performance Dates: Jan. 28 – Feb. 6, 2025

Bernard Richter, Elbenita Kajtazi, Caroline Wettergreen, Alessandra Di Giorgio, Alex Esposito, and Angela Brower star in “Les Contes d’Hoffmann.” Kent Nagano conducts.

Performance Dates: Feb. 14 – March 1, 2025

Sally Matthews, Christoph Pohl, Bogdan Volkov, Alexander Roslavets, and Kristina Stanek star in “Eugene Onegin.” Ari Pelto conducts.

Performance Dates: Feb. 25 – March 9, 2025

“Don Pasquale” will star Roberto Frontali, Sydney Mancasola, Jack Swanson, and Kartal Karagedik. Francesco Ivan Ciampa conducts.

Performance Dates: March 8 – 14, 2025

Amartuvshin Enkhbat, Katharina Konradi, and Piero Pretti star in “Rigoletto.” Henrik Nánási conducts.

Performance Dates: March 15 – 23, 2025

Anna Pirozzi, Ambrogio Maestri, and Gregory Kunde star in “La Fanciulla del West.” Paolo Carignani conducts.

Performance Dates:  March 21 – April 4, 2025

Marco Berti, George Petean, Olga Peretyatko, and Kristina Stanek star in “Il Trovatore.” Paolo Arrivabeni conducts.

Performance Dates: March 27 – April 9, 2025

Christopher Purves, Simon Keenlyside, Seungwoo Simon Yang, Danielle de Niese, Anna Kissjudit, and Elbenita Kajtazi star in “Falstaff.” Finnegan Downie Dead conducts.

Performance Dates: April 3 – 10, 2025

Vera-Lotte Boecker, Oleksiy Palchykov, and Alexey Markov star in “La Traviata.” Stefano Ranzani conducts.

Performance Dates: April 8 – 19, 2025

Christoph Pohl, Han Kim, Kwangchul Youn, Benjamin Bruns, Mark Stone, and Iréne Theorin star in the Patrick Hahn-conducted revival of “Parsifal.”

Performance Dates: April 18 – May 4, 2025

Najmiddin Mavlyanov, Pavel Yankovsky, Elena Guseva, and Elena Zaremba headline “Pique Dame.”

Performance Dates: April 29 – May 13, 2025

Simon O’Neill, Catherine Foster, René Pape, Katja Pieweck, and Lauri Vasar star in “Tristan und Isolde.” Kent Nagano conducts.

Performance Dates: May 29 – June 15, 2025

Peter Hoare, Vida Mikneviciute, Claudia Mahnke, and Christopher Maltman headline “Salome.”

Performance Dates: June 7 – 18, 2025

Alexander Joel conducts “Così fan tutte” and a cast starring Jennifer Davies, Jana Kurucová, Karta Karagedik, Dovlet Nurgeldiyev, Siobhan Stagg, and Joshua Bloom.

Performance Dates: June 22 – July 2, 2025

Olga Peretyatko, Katharina Konradi, Julia Lezhneva, Chao Deng, and Samuel Hasselhorn star in “Le Nozze di Figaro.” Nicholas Carter conducts.

Performance Dates: June 27 – July 3, 2025

Opera Stabile

Gordon Kampe’s “Kannst du pfeifen, Johanna” stars Karl Huml, Grzegorz Pelutis, and Ziad Nehme. Luiz de Godoy conducts.

Performance Dates: Oct. 3 – 11, 2024

“Der Diktator” stars Georg Nigl. Volker Krafft conducts.

Performance Dates: Dec. 21, 2024

Headlining the premiere of Opera Stabile’s production of Gordon Kampe’s “Despot” will be Georg Nigl.

Performance Dates: Jan. 25 – Feb. 2, 2025

Grigori Frid’s “Das Tagebuch der Anne Frank” stars Olivia Warburton. Volker Krafft conducts.

Performance Dates: April 26 – May 8, 2025

Jung Repertoire

“The Lost Melody” will be conducted by Holly Hyun Choe.

Performance Dates: June 8, 2025

Concerts

“The Art of Lise Davidsen” will feature the famed Norwegian soprano.

Performance Dates: Jan. 18, 2025

“The Art of Bryn Terfel” will feature works by Schubert, Schumann, and Debussy.

Performance Dates: March 23, 2025

The post Ermonela Jaho, Freddie de Tommaso, Elsa Dreisig, Ginger Costa-Jackson, Tomasz Konieczny Headline Staatsoper Hamburg’s 2024-25 Season appeared first on OperaWire.

The company said that Csilla Boross will sing the role of Odabella replacing Angela Meade, who was initially announced.

Meade is now scheduled for the Metropolitan Opera’s production of “Un Ballo in Maschera” replacing Elena Stikhina.

Boross is a Hungarian soprano who has performed at the Stockholm Royal Operahouse, Opéra de Marseille, and the Hungarian State Opera, among others. She has also performed in Roma, Trieste, Modena, Verona, Palermo, Torino, Pisa, Ravenna, Lyon, Washington D.C., and Melbourne.

The soprano joins a cast that includes Ildebrando D’Arcangelo, Juan Jesús Rodríguez, and Antonio Poli. Paolo Arrivabeni conducts.

The post Opéra de Marseille Announces Cast Change for ‘Attila’ appeared first on OperaWire.

The opera will be presented between July 21 and August 9 in Lorenzo Mariani’s 2018 production.

In a statement, Mariani, noted, “When I was invited to direct ‘La Traviata,’ I wanted to start from the source by re-reading the novel ‘La dame aux camélias’ by Alexandre Dumas. And I found myself in front of a bomb of emotions almost unbearable for their intensity. The suffering that the protagonist must suffer is really distressing.”

Francesca Dotto returns to her acclaimed turn as Violetta Valery alongside Giovanni Sala and Alessandro Scotto di Luzio as Alfredo and Christopher Maltman and Marco Caria as Germont.

Paolo Arrivabeni conducts the production which is inspired by “La dolce vita” by Fellini.

The post Francesca Dotto Leads ‘La Traviata’ at the Terme di Caracalla appeared first on OperaWire.