Opera by Toshio Hosokawa. Libretto by Hannah Dübgen after the same-titled Nô-play by Zeami.

Conductor: Pablo Heras-Casado

Directior | Choreographer: Sasha Waltz

Set Designer: Thomas Schen, Chiharu Shiota

Costume Designer: Christine Birkle

Light Design: Martin Hauk

Schwester Matsukaze | Soprano: Barbara Hannigan

Schwester Murasame | Mezzosoprano: Charlotte Hellekant

Mönch | Bass: Frode Olsen

Fischer | Bariton: Kai-Uwe Fahnert

FIRST ACT: Scene 1 Madame Larina’s Garden

Madame Larina, Olga and the nurse are finishing the party dresses and gossiping about Tatyana’s coming birthday festivities. Madame Larina speculates on the future. Girls from the neighbourhood arrive and play an old folk game: whoever looks into the mirror will see her beloved.

Lensky, a young poet engaged to Olga, arrives with a friend from St Petersburg. He introduces Onegin, who, bored with the city, has come to see if the country can offer him any distraction. Tatyana, full of youthful and romantic fantasies, falls in love with the elegant stranger, so different from the country people she knows. Onegin on the other hand, sees only a coltish girl who reads too many romantic novels.

Scene 2 Tatyana’s bedroom

Tatyana, her imagination aflame with impetuous first love, dreams of Onegin and writes him a passionate love letter, which she gives to the nurse to deliver.

SECOND ACT: Scene 1 Tatyana’s birthday

The provincial gentry have come out to celebrate Tatyana’s birthday. Onegin finds the company boring. Stifling his yawns, he finds it difficult to be civil; furthermore he is irritated by Tatyana’s letter, which he regards merely as an outburst of adolescent love. In a quiet moment, he seeks out Tatyana and, telling her that he cannot love her, tears up her letter. Instead of awakening pity, Tatyana’s distress merely increases his irritation. Prince Gremin, a distant relative, appears. He is in love with Tatyana, and Madame Larina hopes for a brilliant match; but Tatyana, troubled with her own heart, hardly notices her kind relative. Onegin, in his boredom, decides to provoke Lensky by flirting with Olga, who lightheartedly joins in the teasing. But Lensky takes the matter with passionate seriousness. He challenges Onegin to a duel.

Scene 2 The duel

Tatyana and Olga try to reason with Lensky, but his high romantic ideals have been shattered by the betrayal of his friend and the fickleness of his beloved; he insists that the duel take place. Onegin kills his friend.

THIRD ACT: Scene 1 St Petersburg

Years later, Onegin, having travelled the world in an attempt to escape from his own sense of futility, returns to St Petersburg, where he is received at a ball in the palace of Prince Gremin. Gremin has married, and Onegin is astonished to recognise, in the stately and elegant young princess, Tatyana, the uninteresting little country girl whom he once turned away. The enormity of his mistake and loss engulfs him; his life seems even more aimless and empty.

Scene 2 Tatyana’s boudoir

Onegin has written to Tatyana, revealing his love and asking to see her, but she does not wish to meet him. She pleads in vain with her unsuspecting husband not to leave her alone this evening. Onegin comes and declares his love for her. In spite of her emotional turmoil, Tatyana realises that Onegin’s change of heart has come too late. Before his eyes, she tears up his letter and orders him to leave her forever.

Conductor: René Jacobs
Soprano: Sunhae Im
Mezzo-Soprano: Vivica Genaux
Bass: Marcos Fink

Opera in three acts by the Russian composer Igor Stravinsky. The libretto, written in English by the poet W.H. Auden, is based on a series of eighteenth-century engravings by William Hogarth.

The first part of Wagner's famous Ring cycle.

Scene 1
Das Rheingold begins with a 136-bar unmodulating prelude based on the chord of E flat that is meant to represent the eternal unchanging motions of the River Rhine (it is known that Richard Wagner got the tune for the Prelude/Vorspiel of Das Rheingold while being half asleep) and is (Erickson 1975, p.94) the best known drone piece in the concert repetory. The music grows in power, and the curtain rises. At the bottom of the River Rhine, the three Rhinemaidens (Woglinde, Wellgunde, and Flosshilde) play with one another. Alberich, a Nibelung dwarf, appears from a deep chasm and tries to woo them. Struck by his ugliness, the Rhinemaidens mock his advances, and Alberich grows angry. He notices a golden glow coming from a nearby rock, and asks what it is. The Rhinemaidens tell him about the Rhinegold, which their father had told them to guard: one who renounces love can make out of it a magic Ring, which will let its bearer rule the World. They think they have nothing to fear from the lustful dwarf, but Alberich has been embittered by their mockery. Cursing love, he seizes the gold.

Scene 2
Wotan, ruler of the Gods, is asleep on a mountaintop with Fricka, his wife. Fricka awakes and sees a magnificent castle behind them. She wakes Wotan and points out that their new home has been completed. The giants built the castle on behalf of Wotan, and in exchange Wotan has offered them Freia, the goddess of love. Fricka is worried for her sister, but Wotan is confident that they will not have to give Freia away.

Freia enters, terrified, followed by the giants Fasolt and Fafner. Fasolt demands payment for their finished work. He points out that Wotan's rule is sustained by the treaties carved into his Spear, one of which is his contract with the giants. Donner (god of thunder) and Froh (god of spring) arrive to defend their sister, but Wotan stops them: he cannot stop the giants by force and renege on their agreement.

To Wotan's relief, Loge the fire god makes an entrance; Wotan has been placing his hopes on Loge's cunning finding a way out of the bargain. Loge tells them that Alberich the dwarf has stolen the Rheingold, and made a powerful magic Ring out of it. Wotan, Fricka, and the giants all begin to lust after the Ring, and Loge suggests that they can steal it from Alberich. Fafner demands it as payment instead of Freia. The giants depart, taking Freia with them as hostage.

Freia's golden apples had kept the Gods eternally young; with her absence, they begin to age and weaken. In order to win Freia back, Wotan is forced to follow Loge down into the earth, in pursuit of the Ring.

At this point there is an orchestral interlude that "paints" the descent of Loge and Wotan into Nibelheim. One of the most striking features of the interlude is when the orchestra fades out and gives way to 18 tuned anvils (marked in the score with specific pitches), beating out the Nibelung theme to represent the toiling of the enslaved dwarves.

Scene 3
In Nibelheim, Alberich has enslaved the rest of the Nibelung dwarves. He has forced his brother Mime, a skillful smith, to create a magic helmet, the Tarnhelm. Alberich demonstrates the Tarnhelm's power by turning himself invisible, the better to torment his subjects.

Wotan and Loge arrive and happen upon Mime, who tells them about Alberich's forging of the Ring and the misery of the Nibelung under his rule. Alberich returns, driving his slaves to pile up a huge mound of gold. When they have finished, he dismisses them and turns his attention to the two visitors. He boasts to them about his plans to rule the World. Loge tricks him into demonstrating the magic of the Tarnhelm by transforming into a snake, then a toad. The two gods quickly seize him, and bring him up to the surface.

Scene 4
On the mountaintop, Wotan and Loge force Alberich to exchange his wealth for his freedom. They untie his right hand, and he uses the ring to summon his Nibelung slaves, who bring the hoard of gold. After the gold has been delivered, he asks for the return of the Tarnhelm, but Loge says that it is part of his ransom. Finally, Wotan asks him to surrender the Ring. Alberich refuses, but Wotan seizes it from his finger and puts it on his own. Alberich is crushed by his loss, and before he leaves he lays a curse on the Ring: until it returns to him, whoever does not possess it will desire it, and whoever possesses it will receive unhappiness and death.

Fricka, Donner, and Froh arrive and are greeted by Wotan and Loge, who show them the gold that will ransom Freia. Fasolt and Fafner return, carrying Freia. Reluctant to release Freia, Fasolt insists that there must be enough gold to hide her from view. They pile up the gold, and Wotan is forced to relinquish the Tarnhelm to help cover Freia completely. However, Fasolt spots a final crack in the gold, and demands that Wotan yield the Ring. Wotan refuses, and the giants prepare to abduct Freia.

Suddenly, Erda the earth goddess, the world's wisest woman, appears out of the ground. She warns Wotan of impending doom, and urges him to avoid the cursed Ring. Troubled, Wotan surrenders the Ring and sets Freia free. The giants start dividing the treasure, but they argue over the Ring. Fafner clubs Fasolt to death, and leaves with all the loot. Wotan, horrified, realizes that Alberich's curse has terrible power.

At last, the Gods prepare to enter their new home. Donner summons a thunderstorm to clear the air. After the storm has ended, Froh creates a rainbow bridge that stretches to the gate of the castle. Wotan leads them across the bridge to the castle, which he names Valhalla. Fricka asks him about the name, and he replies that its meaning will be revealed.

Loge, who knows that the end of the Gods is coming, does not follow the others into Valhalla; and, far below, the Rhinemaidens mourn the loss of their gold. The curtain falls.

The opera which is based on a text by René Pollesch will be stage directed by Christoph Schlingensief.

Conductor: Daniel Barenboim
Director: Christoph Schlingensief
Set Designer: Thomas Goerge
Costume Designer: Aino Laberenz
Light Designer: Voxi Bärenklau, Olaf Freese
Director's Assistance: Anna-Sophie Mahler
Chorus Master: Eberhard Friedrich

Act I

A violent storm has driven Daland’s ship several miles from his home on the Norwegian coast. Sending his crew off to rest, he leaves the watch in charge of a young steersman, who falls asleep as he sings a ballad about his girl (“Mit Gewitter und Sturm”). A ghostly schooner drops anchor next to Daland’s ship. Its captain steps ashore and, with increasing despair, reflects on his fate (“Die Frist ist um”): Once every seven years he may leave his ship to find a wife. If she is faithful, she will redeem him from his deathless wandering. If not, he is condemned to sail the ocean until Judgment Day. When Daland discovers the phantom ship, the stranger, who introduces himself as “a Dutchman,” tells him of his plight and offers gold and jewels for a night’s lodging. When he learns that Daland has a daughter, the Dutchman asks for her hand in marriage. Happy to have found a rich son-in-law, Daland agrees and sets sail for home.

Act II

Daland’s young daughter, Senta, is captivated by the portrait of a pale man in black—the Flying Dutchman—while her friends sit spinning under the watchful eye of Mary, Senta’s nurse. The girls tease Senta about her suitor, Erik, who is not a sailor but a hunter. When the superstitious Mary refuses to sing a ballad about the Dutchman, Senta sings it herself (“Traft ihr das Schiff im Meere an”). The song reveals that the Dutchman’s curse was put on him for a blasphemous oath. To Mary and the girls’ horror, Senta suddenly declares that she will be the one to save him. Erik enters with news of the sailors’ return, and Mary and the others hurry off. Erik reminds Senta of her father’s intention to find her a husband and asks her to plead his cause, but she remains distant (“Mein Herz, voll Treue bis zum Sterben”). Realizing how much the Dutchman’s picture means to her, he tells her of a frightening dream in which he saw her passionately embrace the Dutchman and sail away on his ship. Senta exclaims that this is what she must do, and the despairing Erik rushes away. A moment later, the Dutchman enters. Senta stands transfixed. Daland quickly follows and asks his daughter to welcome the stranger, whom he has brought to be her husband (“Mögst du, mein Kind”). After he has left, the Dutchman, who is equally moved by the meeting, asks Senta if she will accept him as her husband (Duet: “Wie aus der Ferne”). Unaware that she realizes who he is, he warns her of making a rash decision, but she ecstatically vows to be faithful to him unto death. Daland returns and is overjoyed to learn that his daughter has accepted the suitor.

Act III

At the harbor, the villagers celebrate the sailors’ return with singing and dancing (Chorus: “Steuermann, lass die Wacht!”). Perplexed by the strange silence aboard the Dutchman’s ship, they call out to the crew, inviting them to join the festivities. Suddenly the ghostly sailors appear, mocking their captain’s quest in hollow chanting. The villagers run away in terror. Quiet returns and Senta enters, followed by the distressed Erik. He pleads with her not to marry the Dutchman, insisting that she has already pledged her love to him (“Willst jenes Tag’s”). The Dutchman, who has overheard them, loses all hope of salvation and goes toward his ship. Senta tries to stop him but he explains that since she has not yet proclaimed her vows before God, she will escape eternal damnation—the fate of those who betray him. His crew prepares to cast off and he declares that he is the Flying Dutchman of legend. Senta ecstatically replies that she knows who he is. As the ship pulls away, she throws herself into the sea, crying that she is faithful unto death.

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A Streetcar Named Desire is an opera composed by André Previn with a libretto by Philip Littell in 1995.

It is based on the play by Tennessee Williams.

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Act I

There is a prediction made by three witches to Macbeth and Banquo that Macbeth will become the next King of Scotland as well as Thane of Cawdor and that Banquo, son of the current King, will become the father to future kings. Macbeth becomes Thane of Cawdor. His wife, Lady Macbeth, having read a letter about the witches prophesy, questions her husband’s will to take the throne. She encourages her husband to kill King Duncan in his sleep. Macduff and Banquo arrive to find a murdered King Duncan.

Act II

Macbeth is now king of Scotland. Remembering the prophesy of the witches, Macbeth decides that Banquo and his children must be put to death. Banquo is killed. Banquo’s son, Fleance, escapes murder. During a banquet, Banquo’s ghost appears, which scares Macbeth. (though only he can see the ghost) Lady Macbeth tries to distract the guests. Macduff decides to leave Scotland for England.

Act III

Macbeth returns to the witches, who tell him that no man “born of woman” will ever harm him. Warning him about Mcduff, another ghost tells Macbeth that no harm will come to him until Birnam Wood moves toward him. Macbeth sees a vision of eight kings pass before his eyes, which frightens him. The last of the eight kings is the ghost of Banquo. Macbeth plans to kill Banquo’s son, Macduff’s wife and Macduff’s children.

Act IV

Macduff is planning revenge, having heard news that his family has been killed. Lady Macbeth is sleepwalking. As she sleepwalks, she imagines blood on her hands. She remembers the murders that they have committed. Macbeth sees Birnam Wood approaching, but also remembers that no man “born of woman” can hurt him. Macduff tells Macbeth that he was “ripped” from his mother’s womb in an “untimely” fashion at birth and then kills Macbeth.

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The ballet of Dostoyevsky's The Brothers Karamazov.

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The Hungarian State Opera House is one the most splendid examples of the Neorenaissance architecture.

The Hungarian State Opera House was built by Mikls Ybl from 1875 to 1884 and it is a richly-decorated building. It is considered as one of the masterpieces of Ybl.

Its neo-renaissaince building, with elements of Baroque, beautifully ornamented with paintings and sculptures by Bertalan Szkely, Mr Than and Kroly Lotz, is counted amongst the most beautiful opera houses in the world.

The Austrian composer Gustav Mahler was director in Budapest from 1888 to 1891.

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The Symphony No. 2 by Gustav Mahler, known as the Resurrection, was written between 1888 and 1894, and first performed in 1895.

Apart from the Eighth Symphony, this symphony was Mahler's most popular and successful work during his lifetime

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The ballet by Gyula Harangozó Jr. and Tibor Kocsák remains faithful to the finest traditions of the Brothers Grimm.

Act 1: Scene 1

The wicked stepmother forces Snow White to work. The servants gladly assist her. When the cleaning is finished the huntsman gives Snow White a white dove as a present. At the sinister arrival of the stepmother everyone disappears. The Prince arrives and instantly falls in love with Snow White. With great difficulty the young couple manage to stay together. Her heart full of fearsome hatred, the wicked stepmother is spying on their close liaison.

Scene 2

The vain Queen comes into the room in a rage. Her poison evaporates as she sets about her beauty treatment. She gets changed and stands in front of the magic mirror. The spirit of the mirror informs her that Snow White is the fairest in all the world. The stepmother flies into a hideous rage. She calls for the huntsman and orders him to kill Snow White.

Scene 3

On the pretext of collecting butterflies, the hunter tricks Snow White into going into the forest. He tries to carry out the Queen's order, but he has not got the heart to do so. Finally he runs away, leaving Snow White alone.

Scene 4

While Snow White is wandering in the forest, the dwarfs set off for the mine, where they dig for precious stones.

Scene 5

Snow White arrives at the dwarfs' house, which is empty. She is hungry and so she eats and drinks, and then she lies down to sleep under a large blanket - across the seven beds. The dwarfs arrive home singing. They are astonished to discover that someone has been in their house. When Snow White moves in the bed they become terrified, but after the first scare they soon make friends with her and take her to their hearts.

Act 2: Scene 1

The stepmother is once again standing in front of the magic mirror. The spirit of the mirror shows her that Snow White is living happily in the dwarfs' house. The wicked Queen flies into a hideous rage and enlists the assistance of some monsters in brewing a magic potion. When she drinks it, the stepmother turns into an old woman selling apples. She poisons the most attractive red apple and goes out.

Scene 2

The dwarfs set off for work, leaving Snow White alone. A short time later the old woman arrives. She asks for some water and, as a token of her gratitude, gives the most attractive apple to the girl as a present. Snow White takes a bite of the apple, collapses and dies. At the end of the old woman's victory dance the dwarfs arrive home, thirsting for revenge. They set off after the treacherous murderer who, as she flees, falls into an abyss.

Scene 3

Led by the huntsman, the Prince and his entourage search for Snow White. In the distance they hear the mournful singing of the dwarfs. The mourners arrive, bearing Snow White's coffin on their shoulders. The Prince wishes to bid farewell to his beloved. When he kisses her, Snow White comes to life. The lovers pledge eternal faithfulness to each other. A celebration begins. At the end the big Snow White book appears, on the first page of which the wicked stepmother is flaunting herself. Dopey finishes the story: he slams the cover of the book shut on the heartless witch.

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Il trovatore (The Troubadour) an opera in four acts by Giuseppe Verdi.

Marcelo Álvarez stars as the heroic troubadour of the title, with Dmitri Hvorostovsky as his powerful rival and Sondra Radvanovsky as the noble Leonora.

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Act 1

The goddess Venere is very proud of Alba. She has promised the people of Alba that her son, Ascanio, will rule over them and marry Silvia, the daughter of the priest Aceste, and a nymph to whom he is betrothed. Venere tells Ascanio to enter Alba incognito, that he should also introduce himself to Silvia but under a false identity, to test her virtue and character. Ascanio does not see why his identity should be kept in secret, but follows his mother's advice. He pretends to be a foreigner from another land admiring the place and the people. He meets the shepherd Fauno and Silvia. He mentions to Silvia that Ascanio will be her husband. Silvia confesses to her dreams, that in it, she is in love with a young man. Aceste, the priest suspects that the vision is of Ascanio, also reassures her that the young man in her dreams can only be Ascanio. Venere tells her son to hold on revealing his identity and keep his secret a little longer.

Act 2

Silvia awaits Ascanio. She sees the man in her vision, but does not know if he is her fiancé or not. Ascanio finds Silvia among the shepherds and tries to have a conversation with her. In turn Sillvia also recognizes him from her dreams. Aceste invites Ascanio to the wedding. But Fauno intervenes and suggests to Ascanio to talk like a foreigner and still remain incognito, pretending he's not Ascanio. Hearing Ascanio talk disappoints Silvia. She now concludes that he is not her fiancé after all. She runs away saying that she will never marry anyone else. She was consoled by Aceste, telling her to be patient and that her woes are soon about to end. Meanwhile, Ascanio himself is impatient to tell Silvia the truth.

Venere is called in earnest by magnificent chorus. Ascanio and Silvia join the singing the goddess Venere descends on her chariot surrounded by clouds. She joins the two lovers and tells them how she had planned her son to discover the virtue of his fiancée. Aceste officiates the oath of faithfulness and loyalty to Venere, who retires afterwards. Silvia decides to honor her commitment to Ascanio. He realizes how lucky he is. Venere reveals Ascanio's identity and blesses the lovers.

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La Fille Mal Gardée (The Girl in the Garden) is a Comic Ballet in 2 Acts and inspired by Choffart's engraving of Pierre Antoine Baudouin's 1789 painting Le Reprimande/Une Jeune Fille Querrillée Pa sa Mere.

The ballet was first presented under the title Le Ballet de la Paille ou Il n'est Qu'un Pas du Mal au Bien (The Ballet of Straw or There Is Only One Step From Bad to Good) by the Ballet of the Grand Théâtre, Bordeaux, France on 1 July 1789.

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Norma is an opera in two acts by Vincenzo Bellini, with libretto by Felice Romani. It was composed in 1831 and premiered on 26 December 1831 at La Scala, in Milan.

ACT I
Deep in a forest, the Druids gather at the altar of their god, Irminsul, where their priest, Oroveso, leads them in a prayer for revenge against the conquering Romans. When they have left, the Roman procounsul, Polline, confesses to his aide that he no longer loves the high priestess Norma, Oroveso's daughter, but has fallen in love with a young novice priestess, Adalgisa. They leave as the Druids assemble and Norma prays to the moon goddess for peace. After the Druids disperse, Adalgisa arrives to pray for strength to resist Pollione, but when he appears he persuades her to flee with him to Rome the next day.

In her hidden retreat, Norma tells her confidante, Clotilde, that she fears Pollione may desert her and her two children for a woman whose identity she does not know. The children are led away as Adalgisa enters to confess she has a lover. Recalling her own weakness, Norma is about to absolve Adalgisa from her vows, but this kindness turns to fury when Pollione appears and Norma learns he is Adalgisa's suitor. Though Pollione would still flee with her, Adalgisa vows she would now rather die than steal him from Norma.

ACT II.
That night, dagger in hand, Norma tries to bring herself to murder her children in their sleep to keep them from Pollione. But she cannot, instead summoning Adalgisa to take them to him. The girl refuses, pleading with the despairing mother to pity her children. Norma embraces Adalgisa, overcome by her offer to go to Pollione and plead for Norma.

The Druids assemble at their altar to hear Oroveso's announcement that Pollione is being replaced by a crueler commander. He rages at Rome's hateful bondage but counsels submission for the moment, so as to make the eventual revolt more certain of success.

At the temple, Norma is stunned to hear from Clotilde that Adalgisa's entreaties to Pollione have been in vain, and in a fury she urges the people to wage war on their conquerors. Oroveso demands a sacrificial victim, and just then Pollione is dragged in, having profaned the sanctuary. Alone with him, Norma promises him his freedom if he will renounce Adalgisa and return to her. When he refuses, Norma calls in the Druids and confesses her guilt. Moved by her nobility, Pollione insists on sharing her fate. After begging Orveso to watch over her children, Norma leads her lover to the pyre while the crowd prays.

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In the heavens, angels and cherubim sing the praises of God. The fallen angel Mefistofele politely but sardonically greets the Almighty from a distance, remarking that human beings, the lords of the earth, seem to him so feeble that he scarcely has the heart to tempt them.

The mystic choir asks, "Do you know Faust?" Mefistofele replies that he does indeed know that strange madman, whose thirst for knowledge leads him past man's usual capacities.

The mystic choir accepts his wager that he can lead Faust to damnation. Mefistofele remarks that he likes to visit with God, the "Old Man," occasionally and have Him speak so humanly with the devil.

The cherubim, who remind Mefistofele of a swarm of bees, start singing more songs of praise, and he retires. The chorus, augmented by the voices of earthly penitents and celestial phalanxes, swells in glorifying the Eternal One.

Conductors: János Kovács and Géza Köteles

Director: Balázs Kovalik

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The Volksoper is Viennas main stage for operetta, opera, musicals and ballet, offering sophisticated musical entertainment. Colourful, eclectic and full of vitality, it is the only theatre dedicated to the genre of operetta.

Operetta belongs to Vienna and Vienna installed it at the home of operetta, Volksopera Vienna, which thereupon became the leading operetta house in the world. First class singers, actors and dancers together with a versatile orchestra cunjure up a musical firework display every evening.

Johann Strauss, Franz Lehr, Emmerich Klmn wrote their world famous beloved melodies for operettas such as The Fledermaus, The Merry Widow and Countess Mariza. A visit to at least one of these operettas at the Volksopera Vienna is a must for every visitor to Vienna!

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The water nymph Rusalka becomes human because she has fallen in love with the prince. But the stakes are high: she has been struck dumb, and she must win the unconditional devotion of her beloved.

The prince returns her love, but her cool manner alienates him. Soon he turns to another woman. The consequences are devastating - Antonín Dvorák’s opera presents a world in which nature and artificiality, dream and reality, and love and passion are irreconcilably opposed.

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The brothers Johannes and Mathias love the same woman, Martha. She rejects Johannes who, out of jealousy of the successful Mathias, sets a barn on fire and directs suspicion towards his brother.

After Mathias has endured a lengthy period of imprisonment, he wanders through the streets of Vienna, preaching from the Bible in return for alms.

Finally, he comes to Johannes’ deathbed. Josef Ernst Köpplinger has achieved a "living, psychologically finely drawn staging", enthused the Frankfurter Allgemeine Zeitung after the premiere in 2006.

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King Kandaules is proud of the beauty of his wife Nyssia and presents her to his people at a feast.

The fisherman Gyges falls in love with the queen at first sight, and, disguised as Kandaules, spends a night with her.

The queen, consumed with passion, insists that Gyges kills Kandaules and becomes king himself.

The acclaimed production by Hans Neuenfels returns to the Volksoper stage after a gap of six years.

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Turandot gives each suitor who tries to win her hand three riddles to solve.

So far, none have been able to solve them, and have paid with their lives. But Prince Calaf passes the tests and ultimately wins Turandots heart.

80 years after the debut performance the opera was put on stage imaginative and magnificently colourful by Renaud Doucet and André Barbe for the first time at the Volksoper.

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Even before the Vienna first night of Richard Wagner's "Tannhuser" opened in 1857, the world premiere of Johann Nestroy's opera persiflage "Tannhuser" at the Carltheater met with spectacular success.

Robert Meyer, ingeniously supported by the Neuen Wiener Concert Schrammeln, turns the work into a dizzying one-man show.

All nine of the major roles, and almost all of the minor roles, are played by Meyer himself, who changes facial expression, pitch of voice and manner of speaking, and gestures in the blink of an eye.

"A delight for Wagnerians, but also for admirers of Nestroy and of Meyer." (Kurier)

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Gioacchino Rossini transformed the material of the Grimm fairytale of Cinderella into a feather-light bel canto parable about the victory of virtue over pride.

In 1997, director Achim Freyer and designer Maria-Elena Amos produced this charming opera buffa at the Volksoper, turning it into a "magically musical fairytale book" in the words of the enthusiastic review in the daily newspaper Die Presse.

After six years, this production is now returning to the Volksoper stage.

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The figure of the dubious misfit Sir John Falstaff has become a modern myth - fat, lascivious, arrogant, yet also full of humour and passion.

With his brilliant, bold tricks he causes confusion in the lives of some of the staider members of the establishment.

Suddenly, the all-too-secure world of the Fluth and Reich families is stirred by a desire for adventure, intrigue and passion.

Please exchange Voucher at the box office at the Volksoper Vienna.

Since the Little Devil's heart has been possessed by the ugly time-eater, he has had to draw his energy from the stolen voices of children. But Antonia does not want to sing for him! And when his great aunt, the "Urstrumpftante", returns to knit the all-knowing Great Sock, the Little Devil's life is thrown seriously into disarray ....

Please exchange Voucher at the box office at the Volksoper Vienna.

The Volksoper is celebrating 410 years of operetta history - the 140th birthdays of both Oscar Straus and Franz Lehár, and the 130th birthday of Robert Stolz.

All three personalities left their own mark on the "silver operetta" era, and indeed went beyond the operetta form: Straus as a film composer, Lehár as the creator of important works in true operatic style, and Robert Stolz as perhaps the last master of the German "Lied".

On this occasion, the Volksoper presents immortal classics from rarely produced works of the three titans of light music.

Please exchange Voucher at the box office at the Volksoper Vienna.

Opera in one prologue and three acts by Claudio Monteverdi.

Performed in Italian with German surtitles.

An American opera in two acts by Kurt Weill.

Performed in German with surtitles.

Opera in two acts by Gaetano Donizetti.

In Italian with German surtitles.

Lyric opera in one act by Peter I. Tschaikovsky.

Performed in Russian with German surtitles.

Lyric opera in three acts by Antonín Dvořák.

Performed in Czech with German surtitles.

Opera in two acts by Gioachino Rossini.

Performed in Italian with German surtitles.

Opera in three acts by Giuseppe Verdi.

Performed in Italian with German surtitles.

Gabriel von Eisenstein is supposed to go to prison, but the temptations of a boisterous night at the ball are stronger. Masquerades and role swapping full of racy alliances dominate the festival. The night passes quickly and Eisenstein is not able to avoid doing time. But one cell is already occupied: by himself! The staged revenge of an aggrieved bat has taken place, and disgrace rules the day.

Beethoven/Stravinsky

The French and the Russians have always had a soft spot for each other – in music at least!

These are the composers who give us orchestral colour, sweeping melodies and vibrant exoticism, the composers who temper Germanic convention with brilliance and fantasy. Which all makes for a perfect match when we bring a Russian conductor and a French soloist together to perform vividly imagined music with an Oriental cast.

Let your imagination loose on the tender Adagio and thrilling dances that accompany Spartacus’s uprising. Surrender to the spinning violin solos and rich orchestral palette of Scheherazade’s nightly tales – a spirited heroine in an exotic world. And discover the charming panoramas of Saint-Saëns’ most evocative concerto, with its thudding steamship propellers and croaking frogs on the Nile.

KHACHATURIAN Spartacus: Suite
SAINT-SAËNS Piano Concerto No.5 (Egyptian)
RIMSKY-KORSAKOV Scheherazade

Alexander Lazarev conductor
Jean-Yves Thibaudet piano

When it comes to heartfelt emotion, no one can match the genius Tchaikovsky. Join us for his soaring violin concerto and music from the Sleeping Beauty ballet.

here should be every reason to think of Tchaikovsky as out of touch – he was an aloof personality, full of insecurities – and yet his music cuts to the core with the irresistible impulse of honest emotion.

You can’t help but feel his astonishing gift for melody and great dramatic instincts. In this concert we celebrate his genius with the soaring themes and infectious virtuosity of the Violin Concerto and music from his ballet masterpiece, Sleeping Beauty.

Following the 2008 Elgar festival, Vladimir Ashkenazy has invited Canadian James Ehnes, “a tremendous violinist”, to return to play another great Romantic concerto.

SIBELIUS Finlandia
TCHAIKOVSKY Violin Concerto
TCHAIKOVSKY Sleeping Beauty: Suite

Vladimir Ashkenazy conductor
James Ehnes violin

TEA & SYMPHONY - 10 DECEMBER
Short program: Violin Concerto and Sleeping Beauty Suite.

On Christmas Eve, a splendid party is taking place at the Stahlbaum's house. The magical Drosselmeyer brings gifts - for Clara, a beautiful wooden Nutcracker doll. Later that night, Clara is unable to sleep and as the clock strikes midnight, very strange things start to happen ...

The Nutcracker is one of the world's favourite ballets, but if you haven't seen this production, you're in for a treat! Set to Tchaikovsky's immortal score, this fairytale bonbon bursts with bewitching dancing, magical sets and the prettiest costumes imaginable. The Nutcracker sold out three cities in 2007 - don't miss this very special encore season!

Credits

The Nutcracker (1990)

Choreography Peter Wright, Lev Ivanov, Vincent Redmon
Composer Piotr Ilyich Tchaikovsky
Set and costume design John F Macfarlane
Sydney: with Australian Opera and Ballet Orchestra

Venue: Opera Theatre
Dates: 3 - 22 December

We’re ushering in the Sydney summer with Mahler’s Third Symphony – his sunniest symphony of all. “The finale is just unbelievably uplifting,” says Ashkenazy, “and no one, not even the most pessimistic person, will be able to resist it.”

But before the music arrives at that glorious conclusion, radiant in its affirmation of love, it traces a musical journey inspired by nature and the dream of a summer morning.
It’s an expansive, all-embracing symphony that finds as much meaning in a dainty meadow flower as in the voices of angels. This, said Mahler, is a symphony that wakes from unfathomable silence and sings and rings!

Vladimir Ashkenazy conductor
Lilli Paasikivi mezzo-soprano
Ladies of the Sydney
Philharmonia Choirs
Sydney Children’s Choir

Venue: Concert Hall
Dates: 2 – 4 Dec

When words fail, music begins. Three musical visions of heaven from the sound of moonlight to Mahler’s wide-eyed unveiling of paradise: “hung with violins.”
Sometimes words fail, and that’s where this concert begins, with instrumental moments from Strauss’s musical “conversation piece”, Capriccio – a prelude for just six players and a glimpse of moonlight in a delicate intermezzo. The heavenly image is sustained in the clarinet concerto, with the mellow purity of the instrument that Mozart taught to sing.

We’d guess that Mahler’s Fourth Symphony is the ‘first’ Mahler symphony for many music-lovers – it’s the shortest and the most candid, and you can’t help but be won over by its singing optimism and dancing innocence. Even the “dance of death” for a devilish violin doesn’t spoil its beauty. Then in its charming finale, soprano Emma Matthews unveils a child’s vision of heaven – “hung with violins!”

R STRAUSS Capriccio: Prelude and
Moonlight Music
MOZART Clarinet Concerto
MAHLER Symphony No.4

Vladimir Ashkenazy conductor
Dimitri Ashkenazy clarinet
Emma Matthews soprano

Venue: Concert Hall
Dates: 24 – 27 Nov

A sophisticated showcase of Australian dance

When Stephen Baynes' Molto Vivace first premiered, the Handel score was accompanied by the sound of dropping jaws.Boldly colourful, playful and laugh-out-loud funny, it showed the future of ballet was very bright indeed. This triple bill teams Vivace with Baynes' achinhly romantic At the edge of night and the brand-new Halcyon from breakout choreographer Tim Harbour. Athletic, engaging and elegant, Edge of night showcases Australian Ballet at its very best.

Credits

At the edge of night (1997)

Choreography Stephen Baynes
Music Sergei Rachmaninov
Set and costume design Michael Pearce

Halcyon (2010)

Choreography Tim Harbour
Music Gerard Brophy
Design Bluebottle

Molto Vivace (2003)

Choreography Stephen Baynes
Music George Frederic Handel
Costume Design Anna French
Set Design Richard Roberts

SUPPORTED BY THE AUSTRALIAN BALLET ENDOWMENT
Tim Harbour's choreography supported by The Robert Southey Fund for Australian Choreography, endowed by The Sidney Myer Fund

Sydney: with Australian Opera and Ballet Orchestra

Venue: Opera Theatre
Dates: 11 - 29 November

Gershwin and Friends

Enter the jazz age – the Paris of Josephine Baker and Picasso, the New York of Dorothy Parker and Irving Berlin, the smooth sound of the clarinet, the smoky trumpet.
Mix it all up with folk mythology, authentic jazz, and real Parisian taxi horns and you get the heady impression of music at its most vital.

The 1920s were an amazing era of cross-fertilisation and mutual inspiration: as Gershwin was putting the concert hall into jazz with his Rhapsody in Blue, Darius Milhaud on the other side of the Atlantic was capturing the chaos and steamy vitality of Harlem for the ballet theatre. Where did the bold experiments take us? Duke Ellington, Leonard Bernstein and John Adams complete the itinerary: New York, Paris, and the world!

ADAMS The Chairman Dances – Foxtrot for orchestra
MILHAUD The Creation of the World
GERSHWIN An American in Paris
BERNSTEIN Prelude, Fugue and Riffs
GERSHWIN Rhapsody in Blue
ELLINGTON Harlem

Kristjan Järvi conductor
Michael Kieran Harvey piano
Francesco Celata clarinet

Venue: Concert Hall
Dates: 8 – 9 Oct

Strauss’s rapturous tale of life, love and the passage of time is back with a new Marschallin, Cheryl Barker, gliding her way through this classic production. The words are ever bittersweet, and the music finds timeless and complex beauty in a Viennese waltz, heartache in a simple song.

The Marschallin has kindly offered Octavian as the Rosenkavalier, the knight who is to present a silver rose to Baron Ochs's fiancée, Sophie. A fine gesture, except that Octavian is far more loveable than Sophie's bovine betrothed, Baron Ochs. One look, and Sophie and Octavian have fallen for each other. So where does this leave Ochs and the Marschallin?

On the surface, Der Rosenkavalier is as light and fluffy as a bedroom farce, but in spite of all the plot twists and pratfalls Richard Strauss and his librettist, Hofmannsthal, are never shallow. The words are ever bittersweet, and the music finds timeless and complex beauty in a Viennese waltz, heartache in a simple song.

Based on a production originally conceived by Göran Järvefelt and Rennie Wright, this work comes with a magnificent cast and creative team. Conductor Andrew Litton brings his wide ranging experience of Strauss's works to Australia for the first time.

Venue: Opera Theatre
Dates: 1 October – 30 October
Duration: four hours and fifteen minutes including two twenty-five-minute intervals.

“Rach 2”
Rachmaninoff’s Second Piano Concerto

Rachmaninoff was the last of the great Romantic composer-pianists, and the music he wrote for himself to play marries supreme virtuosity and impeccable style to a gift for rhapsodic melodies and richly imagined harmonies.

There are no piano concertos quite like Rachmaninoff’s, and Bernd Glemser will bring to the second concerto the grandeur and distinction it demands.

But don’t let the most popular piano concerto of all time distract you from the frame in which it sits. Shostakovich’s intriguing symphony is like a toy shop, with a riot of clever quotations from other composers – and himself! We’re playing it first so we can leave you with the strangely familiar conclusion of Rossini’s William Tell overture galloping through your ears.

SHOSTAKOVICH Symphony No.15
RACHMANINOFF
Piano Concerto No.2
ROSSINI William Tell: Overture

Mark Wigglesworth conductor
Bernd Glemser piano

Venue: Concert Hall
Dates: 22 – 25 Sep

Figaro loves Susanna. The Countess thinks she still loves the Count. Cherubino loves anything in a skirt and as for the Count, love is not quite the right word for how he feels about Susanna. Confused? You will be in this crazy day of match-making and breaking. Mozart’s The Marriage of Figaro has been described as a near perfect opera. Words and music come together, brilliantly, in a comedy spiced with the politics of revolution. Don’t miss Teddy Tahu Rhodes in his role debut as Figaro.

Venue: Opera Theatre
Dates: 23 July – 23 October
Duration: three hours and twenty minutes including one twenty-minute interval.

The Hungarian State Opera House is one the most splendid examples of the Neorenaissance architecture.

The Hungarian State Opera House was built by Mikls Ybl from 1875 to 1884 and it is a richly-decorated building. It is considered as one of the masterpieces of Ybl.

Its neo-renaissaince building, with elements of Baroque, beautifully ornamented with paintings and sculptures by Bertalan Szkely, Mr Than and Kroly Lotz, is counted amongst the most beautiful opera houses in the world.

The Austrian composer Gustav Mahler was director in Budapest from 1888 to 1891.

Please exchange voucher at the box office at the State Opera on the day of the performance.

NOTE: Performance times can change at short notice, ensure to check up prior to performance.

Rosenkavalier, Der, an opera by R. Strauss with a libretto written for him by H. von Hofmannsthal, and published in 1911. It is the second and the most popular of the six works in which Hofmannsthal and Strauss collaborated, and was first performed at Dresden in January 1911. Its setting is Vienna in the second half of the 18th century.

The Marschallin, married straight from school to a great nobleman who spends his time hunting, has as her lover the 18-year-old Octavian, Count Rofrano, nicknamed Quinquin. While he is with her she is visited by a boorish country cousin, Baron Ochs von Lerchenau. Octavian disguises himself as a maid. Ochs has come to Vienna to marry a rich and pretty girl, Sophie, the daughter of a newly ennobled commoner, Edler von Faninal. Ochs asks the Marschallin's help in finding a suitable person to perform the indispensable ceremony of presenting to the betrothed girl a silver rose. She assures him that Count Rofrano will accept the duty. Ochs, who meanwhile takes a fancy to the supposed serving maid, is delighted.

Left alone, the Marschallin, who foresees the end of Octavian's love for her, sings a moving lament for passing youth and beauty. In the second act Octavian duly performs the ceremony of the rose, and he and Sophie von Faninal at once fall deeply in love. An altercation occurs with Ochs, whom Octavian wounds in an impromptu duel. Ochs, who is as lecherous as he is cowardly, receives a note of assignation from ‘Mariandel’, the name Octavian used when disguised as a maid. In the third act Ochs falls into a trap set for him by Octavian, who has arranged the rendezvous in an inn of dubious propriety. Octavian attends in disguise as Mariandel, the Baron is frightened out of his wits by opening trapdoors and grinning faces, and his immoral intentions revealed to the Marschallin and Faninal, whom Octavian has summoned. Octavian, casting off his disguise, receives Sophie, and the Marschallin sadly but gracefully accepts the loss of his love.

Please exchange voucher at the box office at the State Opera on the day of the performance.

NOTE: Performance times can change at short notice, ensure to check up prior to performance.

Gabriel von Eisenstein is supposed to go to prison, but the temptations of a boisterous night at the ball are stronger. Masquerades and role swapping full of racy alliances dominate the festival. The night passes quickly and Eisenstein is not able to avoid doing time. But one cell is already occupied: by himself! The staged revenge of an aggrieved bat has taken place, and disgrace rules the day.

Mozart's penultimate opera, and a fairy-tale work that remains popular with young and old alike. The prince Tamino, with the aid of a magic flute and the bird catcher Papageno as his guide, finds the Temple of Isis where Pamina, the woman he loves but has never met, resides.

Pamina, daughter of the Queen of the Night, together with Tamino, undergo tests to prove their virtue and constancy and good triumphs over evil through the power of love.

Please exchange Voucher at the box office at the Volksoper Vienna.

Verdi's seventeenth opera, along with the two other works of his "popular trilogy" ("Il Trovatore", "La Traviata"), enabled the composer to finally ascend to universal world fame.

Director Stephen Langridge and designer Richard Hudson have set the action in a world in which absolute power and glamour collide with the wretchedness of the excluded. Rigoletto's daughter Gilda grows up in complete isolation, and her love for the tenor hero leads to the first and final decision of her life ...

Please exchange Voucher at the box office at the Volksoper Vienna.

Cannibal chiefs Evening Breeze and Biberhahn want to set aside their enmity. But at the feast for the occasion of their summit meeting, Biberhahn's son is almost eaten for dinner.

Johann Nestroy's interpretation of the Offenbach one-act performance is a satirical masterpiece in which so-called civilization is mercilessly exposed as a mere facade. Chief Evening Breeze is now being performed at the Volksoper for the first time.

Please exchange Voucher at the box office at the Volksoper Vienna.

In this well known opera based on the Grimm's fairy tale, Hänsel and Gretel are sent into the woods by their mother who scolds them for playing instead of doing household chores.

They lose their way and must spend the night in the woods. Upon waking they find a house made of sweets surrounded by gingerbread children but are captured by an evil witch.

The children outwit the witch, freeing the gingerbread children before being happily reunited with their parents.

Please exchange Voucher at the box office at the Volksoper Vienna.

King Gunther von Burgund is afraid of the powerful Queen Brunhild vom Isarland. Should he win the match, to which he has invited her, then the wedding is pending. However so far Brunhild has simply killed most of the suitors. Only dragon slayer Siegfried has been able to conquer her. Gunther therefore asks Siegfried for assistance. Military affectation to impress and Germanic arrogance are the focus of Oscar Straus' Nibelungen persiflage, which premiered in Vienna in 1904.

The first successful German opera had to make use of concepts such as "Turkish fashion" and comply with Joseph II's instruction to compose a "national musical comedy". Yet Mozart's genius shaped from these requirements an outstanding opus which was the first of his many Viennese opera masterpieces. He penetrates deep into the psychology of human relationships and also reveals an element of his own biography. The fact that the principal female figure bears the name of the woman whom Mozart married shortly thereafter - Constanze - is only ostensibly a coincidence.

Sung in German.

Please exchange Voucher at the box office at the Volksoper Vienna.

A Hawaiian princess returns from Paris to her homeland, where she must decide between a local prince and an American marine officer, while at the same time ensuring peace between the island dwellers and the American colonial powers.

Paul Abraham's "colonial operetta" is a brilliant piece of vaudeville combining jazz rhythms with exotic sounds.

Please exchange Voucher at the box office at the Volksoper Vienna.

Bird seller Adam and mail carrier Christel attempt to get together amid a blithe quagmire of unbridled thieving and corruption. They almost lose their way in this drama of confusion across the class barriers, until they finally decide to escape all the merry immorality by fleeing to the idyllic Tyrol.

Carl Zeller's operetta has been one of the cornerstones of the operetta repertoire since its premiere in 1891.

Please exchange Voucher at the box office at the Volksoper Vienna.

Lisa, daughter from a good Vienna family, falls in love with the Chinese prince Sou-Chong. The couple want to lead their life as a couple in China, but the cultural differences are soon revealed as unsurmountable and their love fails as a consequence.

The prince is ultimately left only to conclude sadly: "Always keep smiling..." - even when your heart is at its most despondent. Franz Lehr created beguilingly beautiful music, making this work one of the most well-known and most frequently performed operettas worldwide.

Please exchange Voucher at the box office at the Volksoper Vienna.

According to the beautiful and tempestuous Carmen, love is a rebellious bird, here today and gone tomorrow. Don Jos, loved by the peasant girl Micala, is bewitched by Carmen and although she temporarily encourages his advances, she soon becomes bored by him.

While attending the bull fight of the triumphant Escamillo, the half-crazed Don Jos accosts Carmen and stabs her to death. A perennial favourite, the opera "Carmen" is Bizet's undisputed masterpiece.

Please exchange Voucher at the box office at the Volksoper Vienna.

A Ballet in two acts.

Choreography and Staging: Vladimir Malakhov nach Jean Coralli
Music: Friedrich Burgmüller
Sets and Costumes: Jordi Roig
Conductor: Paul Connelly

Is a comic opera in three acts by Richard Strauss to an original German libretto by Hugo von Hofmannsthal. It is loosely adapted from the novel Les amours du chevalier de Faublas by Louvet de Couvrai and Molière’s comedy Monsieur de Pourceaugnac. It was first performed at the Königliches Opernhaus in Dresden on 26 January 1911 under the direction of Max Reinhardt.

There are many recordings of the opera, and it is regularly performed.

Act 1

The Marschallin's bedroom

Princess Marie Therese von Werdenberg (the Marschallin, the title given to a Field Marshal's wife) and her much younger lover, Count Octavian Rofrano exchange vows of love. To avoid scandal, he hides when a small black boy, Mohammed, brings the Marschallin's breakfast, and then again when loud voices are heard in the antechamber. He returns disguised as a chambermaid, "Mariandel".

The Marschallin's country cousin Baron Ochs has unexpectedly arrived to discuss his engagement to Sophie, the daughter of a wealthy merchant. After boorishly describing his personal pastime of chasing skirts, and demonstrating on the disguised Octavian, he asks the Marschallin which cavalier he should select to deliver the traditional silver engagement rose to Sophie. She recommends Octavian, and when Ochs sees the young count's picture, he notices the similarities in the count's face to the chambermaid "Mariandel's" and assumes that she is Octavian's illegitimate sister. The coarse Ochs propositions "the chambermaid," and, in response, Octavian pretends to be the country maid but leaves the first chance he gets.

The room then fills with supplicants to the Princess. An Italian tenor serenades the Marschallin, while Ochs works out the marriage contract with the Marschallin's notary. Two Italian intriguers, Valzacchi and Annina, try to sell the Princess the latest scandal sheets, and offer their surveillance services to Ochs. Rudely interrupting the tenor's song, Ochs tells the lawyer to demand a dowry from Sophie's family, and leaves, but not before employing the two Italians. Amidst all the activity, the Marschallin remarks to her hairdresser: "My dear Hippolyte, today you have made me look like an old woman."

When all have left, the Marschallin, reminded of her own early marriage by Ochs's young bride, sadly ponders her fleeting youth and the fickleness of men. By the time Octavian returns (in men's clothes), she has realized that one day he will leave her. She tells him so, and despite his fervent vows of love, she knows his love will not last. He is stunned by her mood change and abruptly leaves. She suddenly realizes that she has forgotten to kiss him goodbye, and sends some footmen after him. But it is too late, and he is gone. The Marschallin summons her page to take the silver rose to Octavian to deliver to Sophie. After Mohammed departs, Marie Therese stares pensively into her hand mirror as the curtain falls.

Act 2

The von Faninals' home

Herr von Faninal and Sophie await the arrival of the Rosenkavalier (Knight of the Rose), Octavian. Following tradition, Faninal departs before the Knight appears. Sophie frets over her approaching marriage with a man she has never met as her duenna, Marianne, reports on the approach of Octavian. Octavian arrives with great pomp, dressed all in silver. He presents the silver rose to Sophie in an elaborate ceremony. Immediately, the two young people are attracted to each other and they sing a beautiful duet.

During a chaperoned conversation, Sophie and Octavian begin to fall in love, but Ochs enters with Sophie's father. The Baron speaks familiarly with Octavian (even though they have never met), examines Sophie like chattel and behaves generally like a cad. Ochs's servants begin to chase the maids, sending the household into an uproar. Sophie starts to weep, and Octavian promises to help her. He embraces her, but they are discovered by Ochs's Italian spies, who report to him. Ochs is only amused, considering the much-younger Octavian no threat, but Octavian's temper is raised enough to challenge the bull-headed Baron to a duel. The Baron receives a slight wound in the arm in the fracas and cries bloody murder. As a doctor is sent for, Sophie tells her father she never will marry the Baron, but her father insists she will and threatens to send her to a convent. Octavian is thrown out, and Sophie is sent to her room. As Ochs is left alone on the divan with his wounded arm in a sling, he begins to raise his spirits with a glass of port. Annina enters with a letter for Ochs from "Mariandel" (Octavian) asking to meet him for a tryst. The now recovered and drunk Ochs, in anticipation of his imminent meeting, dances around the stage to one of the opera's many waltzes. He makes a serious mistake: he forgets to tip Annina.

Act 3

A private room in an inn

Valzacchi and Annina have switched alliances, and are now helping Octavian prepare a trap for the Baron. Ochs and "Mariandel" arrive for a private dinner. Ochs tries to seduce the seemingly willing chambermaid, though he is disturbed by her resemblance to Octavian. The guilt-ridden baron catches glimpses of the heads of Octavian's conspirators as they pop out of secret doors. A woman (Annina in disguise) rushes in claiming that Ochs is her husband and the father of her children, all of whom rush in crying "Papa! Papa!" As the confusion grows, Ochs calls for the police.

The police arrive, and to avoid a scandal, Ochs claims that "Mariandel" is his fiancée Sophie. Octavian lets the Police Commissioner in on the trick, and the Officer plays along. Furious for being enmeshed in the scandal, Faninal arrives and sends for Sophie to clear his and his daughter's name. Sophie arrives and asks the Baron to leave her alone. Just as Ochs is completely befuddled and embarrassed, the Marschallin enters. The Princess sends the Police and all the others away, and orders the Baron to leave gracefully, salvaging what is left of his dignity. Ochs finally leaves, pursued by various bill collectors. The Marschallin, Sophie, and Octavian are left alone.

The Marschallin recognizes that the day she so feared has come, as Octavian hesitates between the two women. In the emotional climax of the opera, the Marschallin gracefully releases Octavian, encouraging him to follow his heart and love Sophie. She then withdraws elegantly to the next room to talk with Faninal. As soon as she is gone, Sophie and Octavian run to each other's arms. Faninal and the Marschallin return to find the lovers locked in an embrace. After a few bittersweet glances to her lost lover, the Princess departs with Faninal. Sophie and Octavian follow after another brief but ecstatic love duet, and the opera ends with the Marschallin's little black page, Mohammed, running in to retrieve Sophie's dropped handkerchief, and racing out again after the departing nobility.

Running Time: Approx 3 Hrs

See Sydney - on and off the tourist track - on this entertaining 2-hour guided walk through the heart of Sydney's vibrant sightseeing district. On this tour, with a friendly Sydneysider as your guide, you will see:

- Sydney Harbour Bridge
- The Rocks
- Customs House
- Sydney Opera House
- Royal Botanic Gardens.... and more.

Meeting Point:
Please meet your guide outside the Australian Travel Specialists Booking Centre, Wharf 6, Circular Quay, Sydney, at least 5 minutes prior to the start of your tour. Your guide will be easy to recognise in a blue t-shirt.

Times:Daily @ 10am
Running Time: 2 Hours

Dates when tour does not run: 2nd April 5th April (inclusive), 26th April, 14th June, 4th October, 25-27th December (inclusive), 1st January 2011 & 26 January 2011.

Opera in three acts by Giuseppe Verdi.

The well known tragic love story between the high-class coutesan Violetta and Alfredo, son of a respected Parisian family. With Alfredo the beautiful high-class courtesan Violetta finally finds true love. After a brief spell of happiness enjoyed together Alfredo's father manages, nevertheless, to convince Violetta of the social damage this relationship causes his family. In desperation, she leaves Alfredo and throws herself into the Parisian demimonde with disastrous effects on her health,already ravaged by consumption. Reconciliation comes too late.

Performed in Italian with German surtitles.

Returning victorious from the battle at Pharsalus, Julius Caesar chases Pompey, his rival in the Roman Republics civil war, and follows him to Egypt.

Act 1
Arriving on Egyptian soil, the Roman general is hailed as Pompeys vanquisher. Cornelia, Pompeys wife, and their son Sesto beg for peace and Caesars clemency which Caesar is willing to grant. Caesar is horrified when Achilla, envoy of Ptolemy, King of Egypt, presents him with Pompey's severed head. Caesar swears to punish this atrocity. Cornelia laments the death of her husband, and her son Sesto swears revenge for the death of his father.Cleopatra is in dispute with her brother Ptolemy over the Egyptian throne. She develops a plan with her confidant Nireno to seduce Caesar and use his help to depose Ptolemy as King. Achilla reports Caesars wrath to Ptolemy and offers to kill the Roman Emperor in return for Cornelia's hand.Contemplating Pompeys funeral urn, Caesar reflects on the irrelevance of earthly glory. Cleopatra presents herself to Caesar disguised as Lydia. She asks him for his support against Ptolemy. Caesar is immediately enchanted by her beauty. He promises to help. In Sesto and his mother Cornelia, Cleopatra finds allies for her plan to destroy Ptolemy.Ptolemy receives Caesar with treacherous friendliness. In their verbal exchange, the Roman shows his superiority.Cornelias and Sestos planned attack on Ptolemy at his royal palace is thwarted by Achilla who desires and harasses Cornelia. As prisoners, mother and son lament their fate.

Act 2
Using all her powers of persuasiveness, Cleopatra alias Lydia wins Caesar over completely. Ptolemy too clearly desires his prisoner Cornelia. When she spurns him, he threatens her with violence. No sooner said, Nireno arrives with the news that he is to take Cornelia to Ptolemys harem. Sesto senses his next chance to take revenge on the Egyptian tyrant.

A romantic encounter between Caesar and Cleopatra is suddenly interrupted when Curio, Caesars general, bursts onto the scene with the news of a conspiracy against him. Cleopatra, who only now reveals her true identity, urges Caesar to flee but Caesar sets out to fight the conspirators. Cleopatra stays behind in despair.

Part II - Act 2 continued
After a new attempt on Ptolemys life - this time in the harem - once again fails, Achilla announces Caesars death in the presence of the assassins. Achilla now demands Cornelias hand as the payment bargained but Ptolemy orders him away as a traitor. Cornelia and Sesto recognise the hopelessness of their situation but swear once more to take revenge on Ptolemy.

Act 3
Achilla is insulted by the Egyptian King breaking his promise to give him Cornelias hand in marriage. He decides to change sides and join Cleopatra and her followers. Cleopatra is in the midst of a civil war against her brothers troops. Ptolemy succeeds in capturing his sister. A solitary figure in despair, she remains behind.

Caesar, believed dead, unexpectedly returns and promises to save Cleopatra, Cornelia and Sesto. Carrying the seal of the mortally wounded Achilla, Caesar takes command of Achillas army. He also succeeds in freeing Cleopatra and prepares for the final retaliatory attack. Meanwhile, Ptolemy again harasses Cornelia who resists, but help is near and Ptolemy is killed. Victorious, Caesar celebrates with Cleopatra, the new Queen of Egypt.

La damnation de Faust (The Damnation of Faust) is a work for orchestra, voices, and chorus written by Hector Berlioz and called, by the composer, a "légende dramatique". It is often performed as an opera.

Transfer Times

The 'Transfer to the Opera' has got fixed departure times. However, the exact times will be decided upon by March .

Last years departure times were Torri @ 5:30pm, Garda @ 5:45pm & Bardolino @ 5:55pm most likely they wont change but the final decision will not be made before March.

Part 1

Xerxes, King of Persia is in love with a plane-tree.

Neither hurricane nor lighting can crush the proud standing tree, whose leaves give peace and tranquillity to the king's heart. Neither hurricane nor lightning…

Arsamenes, Xerxes' brother also visits this place, which is far from the city. He is also visiting his love. It is not a plant, but Romilda, who is singing about yearning lovers and Xerxes' strange affections. The king emerges from his hiding place having immediately fallen in love with Romilda's voice. He orders Arsamenes to propose to the girl for him. His brother's excuses do not alter his decision, and finally he sets out to propose to the girl himself.

Arsamenes manages to meet Romilda before the king arrives. He warns the girl about the danger, and, although his lover swears eternal love to him again - like she has done a hundred times before - Arsamenes foresees a gloomy future. Romilda's sister, Atalanta, however, seizes the opportunity, and in the hope that the king's wish will be fulfilled, confesses her love to Arsamenes immediately - which the lovers, of course, do not take seriously. They do take Xerxes' arrival seriously though. Elviro, Arsamenes' servant warns them in time to hide away, but his pride makes the prince reveal himself. Recognising his own brother as his rival, Xerxes expels Arsamenes and his servant from the court.

Princess Amastris, Xerxes' fiancée is in love with the king, and, dressed as a soldier, follows him to battles and conquests through thick and thin. Xerxes wins one victory after another, mainly thanks to his commander Ariodates, Romilda's and Atalanta's father. In return he promises him that Romilda can marry one of the most prominent members of the royal dynasty, and then sends his troops towards Athens. The loyal Ariodates is grateful for the king's benevolence, and sets out to the war. Amastris, who has eavesdropped Xerxes' secret desires, realises that the king no longer wants to marry her.

Arsamenes sends a note to Romilda with Elviro, in which he invites her lover to a secret rendezvous. Elviro is unwilling to do so as breaking his exile might result in his death. In the meantime Atalanta is trying to persuade her sister to accept the king's proposal and leave Arsamenes. Romilda sees through this naïve idea, and lectures to her sister to stop her futile intrigues as she would never come between her and Arsamenes. Atalanta does not give up so easily, if she cannot achieve her goal simply, she will find another way - she packs her things, and leaves to find her beloved one. She does not get very far.

Elviro tries to carry out his mission disguised as a flower vendor, but Amastris immediately reveals his identity. Elviro tells her the background of his mission, and now the princess can clearly see Xerxes' plans of marriage. Naturally, she breaks down. Eventually, Elviro hands over the note to Atalanta, who promises to forward it to her sister. She obviously does not have the slightest intention to do so, moreover, she exploits the upcoming situation, and when Xerxes arrives she tells him that Arsamenes wrote the letter to him as they have long been lovers. The king has some doubts about this new version, but finally he feels relieved, thinking that it would perhaps be easier to get Romilda. He promises to Atalanta to marry her to Arsamanes. The girl, just in case, warns him: if Arsamenes should deny it, do not believe her.

Xerxes shows the evidence to Romilda triumphantly, but she would still refuse to reject her lover. The king cannot comprehend and interpret this strong emotional attachment, and attempts to start to hate the object of his desires, but he himself does not know how it would be possible. Romilda turns to the audience, and asks them if love can exist without jealousy. In the meantime, the hopeless Arsamenes wants only to die.

Part 2

Xerxes' troops are gathering at the legendary pontoon bridge over the Dardanelles to cross the strait and invade Greece. The king dispatches his troops with a brief speech then starts to deal with his urgent love affairs. He offers peace to Arsamenes and lets her marry her lover. The misunderstanding, however, soon becomes apparent: his brother refuses to marry Atalanta, since he only loves Romilda. Atalanta is not shocked by the events: she is determined to find a husband, whatever it costs. If not Arsamenes, then someone else.

Elviro tries to alleviate his sorrow over the loss of his master by drinking heavily. Believing that he could find Arsamenes on the other side, he has no choice but to step onto the pontoon bridge, no matter how it pitches and tosses in the storm. The bridge suddenly collapses - at least, Elviro sees it happen -, and he is overwhelmed by seasickness.

Amastris and Xerxes, independently from each other are complaining about their lovers, who are impossible to reach. Before turning to a more serious topic, Romilda arrives. The girl swears to Arsamenes not to change her mind and remain faithful to him, no matter what will happen. Although their jealous row, which is so characteristic of lovers, does not ease, it emerges that they are victims of Atalanta's intrigue.

Xerxes appears suddenly, and Arsamenes and Elviro hide again. When Romilda receives the king, she pretends to be confused in order to gain time, and tries to parry Xerxes' assault by referring to his father's will, as an honourable girl: without his consent any marriage is out of question. Xerxes rushes away happily as he can be certain in his vassal Ariodates' positive reply. Arsamenes obviously does not notice that the girl is completely desperate, misunderstands Romilda's words, and reproachingly demands an explanation for her infidelity.

The retired general is surprised at the king's unexpected visit. Xerxes tells him categorically that today Romilda will have to marry a member of the royal family who is not lower-ranking than himself, the king. The reason for this sophisticated wording is that he, as a king, could not marry a daughter of one of his subjects. Ariodates, of course, misunderstands everything and suspects that Arsamenes, the king's brother will be his son-in-law. And he is most pleased as he has often been a victim of Xerxes' unbridled tyrannical will.

Xerxes now really feels he is in the saddle. He proposes to the girl again, who reveals her secret as a last attempt: her relationship with Arsamenes was more than smere innocent kisses, and now she is no longer worthy of being the king's wife. The furious Xerxes orders the execution of Arsamenes.

Being ardent lovers, Romilda and Arsamenes could quarrel until the end of their lives about who is more faithful than the other or who left the other one. Arsamenes' last hour is approaching, but the never-ending row does not settle until the girl's father appears with a group of priests to let his daughter marry her fiancé. Nobody protests.

Xerxes, who really appears unexpectedly, is shocked to face the fact that Romilda is already Arsamenes' wife. Then a reproachful letter raises his wrath to the extremes, but when he reads the signature, he calls the furies against himself: the letter was written by his fiancée, Amastris.

Everybody tries to calm the furious Xerxes, demanding Arsamenes to kill Romilda. Amastris, still in disguise, undertakes to execute the punishment. On her question whether the sword must drive through the heart of the one who returns true love with infidelity, the king agrees. Then, revealing her identity, Amastris points the sword at Xerxes' chest. The king, of course, regrets his tyrannical behaviour, pardons everyone and praises true love. If, after all this, anyone knows what that actually is.

Please exchange voucher at the box office at the State Opera on the day of the performance.

NOTE: Performance times can change at short notice, ensure to check up prior to performance.

Act I

Scene 1: The mother and the nurse are making jam outside the Larin country house, while Tatyana and Olga are singing a song about yearning for happiness. Harvesters arrive and greet their mistress. The Larins' neighbour, Lensky, Olga's fiancé arrives and introduces his friend Onegin to the ladies. Lensky indulges in a talk of love with Olga, while Onegin entertains the silent Tatyana.

Scene 2: Tatyana interrogates her nurse about love. Left alone she is overwhelmed with the emotions she feels towards Onegin, seeing him as the hero of her dreams and romantic readings. She writes a letter confessing her feelings, and asks her nurse to send it to Onegin.

Scene 3: The girls pick raspberry in the garden of the Larin house. Tatyana anxiously looks forward to Onegin's arrival, but the man politely rejects her.

Act II

Scene 1: The nobles of the neighbourhood gather for a joyful birthday ball in the Larin house. Triquet, a Frenchman sings some songs in honour of Tatyana. The bored Onegin wants to annoy Lensky, and keeps dancing with Olga. Lensky challenges him to a duel.

Scene 2: At dawn next day Lensky, with a heavy heart, is preparing for death while waiting for his friend. Onegin kills Lensky at the duel.

Act III

Scene 1: Some years later, Onegin sees Tatyana again as a celebrated society lady in a grand ball in St. Petersburg. She had married Prince Gremin, and the elderly prince talks to Onegin about her emotionally. Onegin realizes that he is in love with Tatyana.

Scene 2: Onegin bombards Tatyana with love letters, and he passionately confesses his sentiments in her room. Tatyana still loves him, but chooses to remain faithful to Gremin, and rejects Onegin.

Please exchange voucher at the box office at the State Opera on the day of the performance.

NOTE: Performance times can change at short notice, ensure to check up prior to performance.

Manon Lescaut is an opera (Lyric drama) in four acts by Giacomo Puccini, with libretto by Ruggero Leoncavallo, Marco Praga, Domenico Oliva, Luigi Illica and Giuseppe Giacosa. It was composed between 1889 and 1892, revised in 1893 and again in 1922 and premiered at the Teatro Regio in Turin on 1 February 1893.

Please exchange voucher at the box office at the State Opera on the day of the performance.

NOTE: Performance times can change at short notice, ensure to check up prior to performance.

La Bayadère (The Temple Dancer) (Russian Баядерка - Bayaderka) is a ballet, originally staged in four acts and seven scenes.

Please exchange voucher at the box office at the State Opera on the day of the performance.

NOTE: Performance times can change at short notice, ensure to check up prior to performance.

Il barbiere di Siviglia (The Barber of Seville) is an opera buffa in two acts by Gioachino Rossini with a libretto by Cesare Sterbini. The première (under the title Almaviva, or the Useless Precaution) took place on 20 February 1816 at the Teatro Argentina, Rome and though an infamous flop, The Barber of Seville has become a standard of comic opera repertory.

Please exchange voucher at the box office at the State Opera on the day of the performance.

NOTE: Performance times can change at short notice, ensure to check up prior to performance.

An opera in five acts by Composer Giuseppe Verdi.

Act 1

In a square in Palermo the occupying French are drinking boisterously, while the Sicilians in their profound dejection long for revenge. When the Duchess Elena appears, mourning her brother, the French soldiers try to force her to entertain them by singing a song. Instead, she addresses her stirring words to the Sicilians. She has almost caused an uprising to break out, when the surprise arrival of Montforte prevents it, and the crowd disperse. Elena and her companions Ninetta and Danieli lament the cowardice of their compatriots, while Montforte sings coolly of his power. Suddenly Arrigo appears. He had been imprisoned as an insurgent, but Monforte has now granted him a reprieve. In spite of this, the young Sicilian continues to view the governor as his greatest enemy, even though so far he has never met him. When Montforte reveals his identity, a dialogue ensues between them, which greatly disturb Arrigo. Montforte first enquires about the young man's family, and then suggests he join his soldiers, eventually forbidding him to have any connection with Elena. Arrigo, who has so far concealed his love for the duchess, hotly rebuffs Monforte's admonitions.

Act 2

Procida, leader of Sicily's liberation movement, returns home after a long journey during which he has visited many countries seeking support for his beloved country. Sicilian conspirators gather round him and vow to seek revenge on the French. Having learned of Procida's return, Arrigo and Elena arrive. Procida asks both of them to assist in preparing for an uprising, without which there can be no support from Byzantium and Aragon. Arrigo declares his love to Elena. As a condition of her reciprocal love she tells Arrigo to revenge the death of her brother. Bethune arrives and hands Arrigo an invitation from Montforte to a ball. When Arrigo refuses to accept it, Bethune and his companions forcibly take him away. Procida instigates among the French soldiers that when the procession arrives of Sicilian young couples going to be married, they should carry off the fiancées. This defilement of the fiancées rallies the Sicilian men together, at which moment the French pass in festive procession on their way to Monforte's ball. Procida and Elena together with the Sicilians make a resolution: they will murder the governor at the ball.

Act 3

Montforte learns in a letter from Arrigo's mother written before she died that he is Arrigo's father. The governor dreams of a happy future with his son. He is convinced that he will be able to win his former enemy over to his side - and to that of the French. Arrigo does not understand why he is being treated in the governor's palace with so much attention - which is at De Montfort's instructions. Montforte shows his son his mother's letter, and reveals that he is his father. Arrigo is shocked and disturbed by the news, as he cannot and will not accept that his sworn enemy is his own father. Monforte pleads with him earnestly, but Arrigo refuses to show any filial devotion. At the ball Procida and Elena steal up to Arrigo and let him in on the conspiracy against Montforte. Arrigo is thrown into a serious crisis of conscience, and at the last minute causes the assassination attempt on his father to fail. Monforte has the assassins arrested and condemns them to death. The desperate Arrigo's betrayal of his friends produces contempt among the Sicilians and rejoicing among the French.

Act 4

Arrigo visits the prison to explain his betrayal to Elena and Procida. Elena is profoundly moved by the news that Monforte is Arrigo's father, and forgives him for what he did. She confesses that she was more afraid of losing his love than she is of her approaching death. They embrace each other happily. Procida learns that Aragon is offering assistance, and is thrown into despair that inside the prison walls he cannot pass on the news. Montforte arrives and issues orders for the execution to be carried out. Arrigo begs him to spare his friends. Monforte offers them mercy, if Arrigo will call him Father. Elena angrily rejects the idea. The execution squad enters. Procida and Elena wait courageously for the death which they must suffer for their homeland. At the last minute with a cry of Father! Arrigo prevents the execution. Overjoyed, Monforte not only grants them a reprieve, he gives his blessing for Arrigo and Elena to marry. He hopes by this to bring the hostile peoples closer together. The French and Sicilians fill the stage, feeling the approach of peace, while Procida hatches further plans for revenge.

Act 5

The day of the wedding of Elena and Arrigo dawns. While Procida and his fellow conspirators prepare for the uprising, Elena happily celebrates with the people her approaching wedding. Procida confides to Elena that the sign for the bloody uprising will be the tolling of the wedding bells. Elena falls into a panic, as she is unable to choose between her love for Arrigo, and her loyalty to her country. Elena's troubled behaviour shocks Arrigo, who is looking forward joyfully to the wedding. After a lengthy struggle Elena tells Arrigo she cannot marry him. In order not to give away Procida, Elena is silent about the real reason; she gives as her excuse the death of her beloved brother, which still stands between them. Montforte learns from Arrigo that Elena does not want to marry him. However, against their will, the governor orders the wedding to take place. Elena tries in vain for the last time to warn him: the tolling of the wedding bells will mean death and destruction for all of them.

Please exchange voucher at the box office at the State Opera on the day of the performance.

NOTE: Performance times can change at short notice, ensure to check up prior to performance.

Fidelio (Married Love) is an opera in two acts by Ludwig van Beethoven, his only work in this genre, with libretto by Joseph Sonnleithner and Georg Friedrich Treitschke. It was composed between 1804 and 1805, revised in 1806 and once more in 1814. The original three act version premiered on 20 November 1805 at the Theater an der Wien in Vienna; the first revised version (in two acts) also premiered at the Theater an der Wien on 29 March 1806 and the second revised version premiered on 23 May 1814 at the Kãrntnertortheater in Vienna.

Synopsis

Act I

Leonore is looking for Florestan, her husband. She suspects that he is in the hands of state prison governor Don Pizarro. Disguised as a man and assuming the name of Fidelio she finds work with Rocco, the prison warden. Marzelline, Rocco's daughter has fallen in love with Fidelio. Her father also would prefer him to gatekeeper Jaquino as son-in-law. As token of trust Fidelio now demands to be taken along to the prisoners cells. A letter warns Don Pizarro of an impending prison inspection by Minister Don Fernando. He promptly commissions Rocco with the murder of Florestan so that his dark machinations remain unexposed. Rocco refuses but declares himself willing to dig the grave. Don Pizarro is willing to carry out the murder himself.

Act II

Fidelio persuades Rocco to let the prisoners into the courtyard. Together with Rocco, she descends into the dungeon. Florestan is lying asleep in the dungeon. He awakens when Rocco and Fidelio begin to dig the grave. He learns from the warden that Pizarro is prison governor. He wishes to send Rocco to his wife. Leonore recognizes her husband. At Rocco's signal Pizarro appears with the intent of stabbing Florestan. Fidelio protects him and reveals herself as Leonore. Trumpets herald the arrival of the Minister and their salvation. After a general amnesty by the government all prisoners are released, Don Fernando recognizes in Florestan his long-lost friend whom he had believed dead. Pizarro's crime stands revealed. The people celebrate the victory of Loyalty over Tyranny.

Please exchange voucher at the box office at the State Opera on the day of the performance.

NOTE: Performance times can change at short notice, ensure to check up prior to performance.

ACT I

The storm clouds are gathering above the Viennese Herr Von Eisenstein's house. He has been sentenced to a five-day prison term for duelling. While he is away battling in court for acquittal, his wife Rosalinda is courted by and old suitor, Alfred, the famous tenor. Alfred tries to persuade his old flame to make good use of her brief grass widowhood. Rosalinda is about to be completely deserted: her chambermaid Adele tries to get the night off by telling her mistress that her ‘poor old aunt’ is deathly ill. In actual fact, Adele secretly wants to go to the ball at Prince Orlofsky's, to which she has been invited – so she is aware – by her sister Ida the ballerina.

Eisenstein arrives home in deep distress. He is fighting with his lawyer, Dr Blind. His prison term has been extended to eight days because of Blind’s incompetence. Blind promises to appeal, but Eisenstein throws him out. He has only been allowed to come home for a farewell dinner. He sends Adele to the nearby restaurant to get him some comforting delicacies.

The lawyer Dr Falke comes to visit. He used to be the family’s friend until Eisenstein played a nasty trick on him. Three years ago the two of them had gone to a costume ball dressed as a butterfly and a bat. On the way home, Eisenstein got the doctor drunk and left him asleep in the park in his bat costume. Ever since everyone in Vienna has called him the Batty Doctor. However, this time – so it appears – Dr Falke has not come to gloat. He convinces Eisenstein to come to the ball at Prince Orlofsky's and postpone reporting to gaol (where he can recover from the spree) until midnight. He even asks Eisenstein to bring with him his famous chiming watch, used so effectively in his many conquests. Dr Falke secretly also invites Rosalinda to Orlofsky’s, and provides her with a costume.

Adele returns the bountiful dinner, but her master hurries off with his crony, Dr Falke. Then, on the spur of the moment, Rosalinda decides to let Adele off for the night, and resigning herself to her fate she allows Alfred, serenading under her window, to enter, and continue at the dinner table. However, their intimate rendezvous is interrupted when Herr Frank, the director of the prison where Eisenstein is to spend his gaol term, enters. He has come to personally escort Eisenstein to his prison. Rosalinda begs Alfred to say that he is Eisenstein, to avert a scandal. Alfred agrees and leaves with Frank to take Eisenstein's place in prison.

ACT II

Receiving his guests in his lavish palace, Prince Orlofsky is lamenting his terminal boredom and eventually ‘shoots himself in the head’ with a bottle of vodka. Dr Falke assures him that tonight he will laugh: he has planned a little comedy, whose unsuspecting actors enter the scene one after the other.

Arriving in Rosalinda’s dress, Adele is introduced as an actress. Eisenstein is introduced as the Marquis de Renard, and is flabbergasted to see his chambermaid at the ball. Adele is equally horrified to see her master, but continues to insist that she is an actress. Eisenstein has a gruelling conversation in French with Chevalier Chagrin, who is in fact Frank. The ‘two illustrious’ Frenchmen woo Adele and Ida, while Falke introduces Eisenstein to the mysterious Hungarian countess, who is really Rosalinda. Eisenstein flirts with the woman, but loses his chiming watch in the process. He tries desperately to get it back, but his time is up, and he must begin his prison sentence.

ACT III

Frosch, the gaoler, delivers an intoxicated soliloquy in the prison director’s office, when an equally inebriated Frank comes in. They have not even weighed up the tricky situation when Adele and Ida arrive. They take Frank (or Chevalier Chagrin, as they know him) by his word, and ask him to help Adele break into show business – she displays talent in a brilliant solo.

Next, Eisenstein enters and is taken aback to find that his drinking mate, Chevalier Chagrin, is the director of the prison. His surprise is even greater when he learns that Herr Von Eisenstein was arrested the evening before, while he was at home, dining with his wife.

Meanwhile, Alfred impatiently waits for the lawyer he has sent for. Rosalinda arrives, wanting to save the day. However, Eisenstein returns, disguised as the lawyer. Instead of help, he swears to take revenge on his unfaithful wife and her suitor. But Rosalinda counters his accusation by producing the watch she swindled out of him as a Hungarian countess. Eisenstein then changes tactic and denies his identity, but Adele identifies her master.

Finally, Prince Orlofsky and all the party guests pour into the gaol. Dr Falke announces the whole situation was a joke – the revenge of the Bat. Eisenstein is reassured in his belief that Alfred too was just part of the joke. All is forgiven, everything is back to normal, only Adele becomes and actress, with the help of Orlofsky.

Please exchange voucher at the box office at the State Opera on the day of the performance.

NOTE: Performance times can change at short notice, ensure to check up prior to performance.

An opera (Dramma giocoso) in two acts by Wolfgang Amadeus Mozart, with libretto by Lorenzo da Ponte.

It was not until the 20th Century that this piece of art, which was also a collaboration between Mozart and da Ponte, could capture the audience's favour.

Ballet by Mauro Bigonzetti and music by Claudio Monteverdi in an adaptation by Bruno Moretti.

Is an opera Singspiel in three acts by Wolfgang Amadeus Mozart. The German libretto is by Christoph Friedrich Bretzner with adaptations by Gottlieb Stephanie. The plot concerns the attempt of the hero Belmonte, assisted by his servant Pedrillo, to rescue his beloved Konstanze from the seraglio of the Pasha Selim.

Act 1

Belmonte seeks everywhere his betrothed, Konstanze, who with her English servant Blondchen has fallen into the hands of pirates who sold them to the Pasha Selim (Aria: "Here shall I see you, Konstanze, you my hope.") Osmin, the Pasha's servant, comes to pluck figs in the garden and completely ignores Belmonte's addresses (Aria: "Who a love has found.") Belmonte insists and tries to obtain news of his servant, Pedrillo. (Duet: "Confounded be you and your song.") Osmin is angry. ("Such ragamuffins.") Nevertheless, after the servant leaves, Belmonte meets Pedrillo and they resolve to abduct Konstanze. (Aria: "Konstanze, Konstanze, to see thee again").

Accompanied by a chorus of Janissaries ("Sing to the great Pasha") Selim appears with Konstanze, for whose love he strives in vain. (Aria of Konstanze: "O forgive! Oh, I loved") Upon the recommendation of Pedrillo, the Pasha engages Belmonte as builder, but Osmin refuses him access to the palace. (Terzett: "March! March! March!")

Act 2

Blondchen repulses the rough lovemaking attempts of Osmin. (Aria: "By tenderness and flattery.") After a duet ("I go, but counsel thee to avoid the villain Pedrillo"), Osmin departs. Konstanze greets Blondchen in distress (Aria: "Sorrow has become my lot"), informing her that Selim demands her love and threatens to use force. (Aria: "This also will I bear.")

When she has gone, Pedrillo comes to Blondchen, who is his sweetheart, and informs her that Belmonte is near and that all is ready for flight. Blondchen is filled with joy. (Aria: "What happiness, what delight.") Pedrillo invites Osmin to drink, hoping that he will become intoxicated. (Aria: "On to the combat" and duet: "Vivat Bacchus!") He succeeds in this plan and gets Osmin out of the way so that Belmonte again sees his beloved Konstanze. (Quartet, Belmonte, Konstanze, Pedrillo, Blondchen: "Oh, Belmonte, oh my life.")

Act 3

Belmonte and Pedrillo come to the garden with ladders. (Aria, Belmonte: "When the tears of joy do fall"; Romanze, Pedrillo: "Captive in the land of the Moors.") Belmonte succeeds in abducting Konstanze, but when Pedrillo is about to escape with Blondchen, they are caught by Osmin (Aria: "Ho, how I will triumph"), and Belmonte and Konstanze are also brought back by the guard. Belmonte pleading for their lives announces to Selim Pasha that his father is a Spanish Grandee and Governor of Oran who will pay a huge ransom, on hearing the name of Belmonte's father, Selim Pasha declares Belmonte the son of his greatest enemy, and rejoices on how fortune has handed him a chance for vengeance. (Duet: "Oh what a fate, oh soul's misery.") His heart, however, is touched by their sorrow; he forgives, and all are set at liberty - much to the dismay of Osmin, who would prefer to see them all brutally executed. (Finale: "Never will I thy kindness forget.")

Nine months have passed since the collapse of the Roman Republic and Scarpia, head of the Roman police has set up a remorseless terror regime. Even the singer Floria Tosca and her lover, the painter Mario Cavaradossi, get into a deadly conflict with the brutal chief of police ... - An enthralling piece of musical theatre!

Giacomo Puccini pursued clear aims with his masterpiece, which celebrated its world premiere in 1900: "The sentiment in 'Tosca' is not romantic and lyrical, but passionate, excruciating, bleak. Up until now we were gentle, now we want to be brutal."

Please exchange Voucher at the box office at the Volksoper Vienna.

Aaron S. Watkins production of La Bayadre - one of the greatest classical ballets of our time - is based on the traditional version of Marius Petipa. Set in ancient India, this typically romantic story tells of love, jealousy, intrigue, murder and revenge between Nikiya, a temple dancer, her rival, the Rajahs daughter Hamsatti, and Solor, a noble warrior passionately loved by both women. This passionate exotic tale also includes The Kingdom of the Shades - one of the most famous scenes in all of classical ballet.

Around twenty years after the disappearance of Countess di Lunas youngest son (kidnapped and possibly killed by the daughter of a gypsy who was burned alive as a witch), the fates of two men are entwined: the young Count di Luna and the troubadour Manrico, son of the gypsy Azucena. They are fighting on opposite sides of a civil war, and are rivals for the love of Leonora. When Azucena is found on the battlefield by di Luna, he decides to kill the woman identified as the murderer of his brother and the mother of his enemy, Manrico. The latter, attempting to free the gypsy, is himself captured by di Luna. Leonora offers herself in exchange for Manricos freedom, and later swallows deadly poison. Di Luna kills Manrico, whereupon Azucena relates that they were brothers. Her mothers revenge is now complete.

See inside the world's most recognisable sails. Experience this miracle of architecture and engineering. A work of art that came into existence against impossible odds - to become one of the busiest performing arts centres in the world. Working with new, rich audio-visual components, our guides will take you on an emotional journey, engrossing you in a story to rival any opera plot with its dramatic twists and turns.Visit at least one of our venues. Some 1,500 performances, from opera to circus, rock and cabaret, are staged each year to audiences of around 1.5 million. Tours last 1 hour.

Tour info

Tour Times: Tours run daily every 30 mins from 9am-5pm.
Running Time: 1 Hour

Please note: Please procced to Guided Tours desk located in the Box Office foyer for voucher redemption - All bags larger than A4 size must be cloaked.

This intimate tour gives you an exclusive insight into the inner workings of the building, and gain access normally reserved for performers and crew. See the Concert Hall stage from the conductor's perspective. Sit in the orchestra's pit. Stand where legends such as Dame Joan Sutherland and Pavarotti have performed. Get inside the stars' dressing rooms. Includes a full breakfast in the Green Room.

Tour Info

Times: Daily from 7am
Running Time: 2 hours

Please procced to Stage Door for voucher redemption - All bags larger than A4 size must be cloaked.

The city tour passes the Prague State Opera, the National Museum, Wenceslas Square and the Prague Castle District. Enjoy a walking tour along the Archbishop´s Palace, visit of St. Vitus Cathedral, the Royal Palace and back via the Golden Lane. Then the tour continues through the Jewish Ghetto to the Old Town Square surrounded by Old Town Hall with the famous Astronomical Clock, Tyn and St Nicholas Churches.

Tour Info

Times: Monday - Sunday @ 10:00am
Running Time: 3 Hours

IS THE TOUR WHEELCHAIR ACCESSIBLE?

This tour is not suitable for disabled guests.

THE TOUR PRICE A
is valid for 2 participants who go in one private car with the guide.

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A beautiful square in Seville with a cigarette factory, a guard house, and a bridge. Morales and the soldiers are on guard, very bored ("Sur la place, Chacun passe"). Micala appears seeking Jos, her fianc, but is accosted by the impudent soldiers who desire her company, causing her to run away. As Jos approaches with the new guard, he and the soldiers are imitated by the street-children ("Avec la garde montante"). The cigarette girls emerge from the factory, greeted by their men ("La cloche a sonn"). Carmen appears, and all the men ask her when she will love them ("Quand je vous aimerai?"). She replies that she loves the man that does not love her in the famous Habanera. ("L'amour est un oiseau rebelle"). When asked to choose a lover, she throws a flower in front of Jos ("Carmen! sur tes pas, nous nous pressons tous!"). Jos is temporarily transfixed until Micala brings him a letter and kiss from his mother ("Parle-moi de ma mre!"). Jos longingly thinks of his home. As soon as she leaves, screams are heard from the factory and the women run out, singing chaotically ("Au secours! Au secours!"). Don Jos and his superior, Zuniga find that Carmen has been fighting with another woman, and slashed her face with a knife. Zuniga attempts to interrogate Carmen who impudently sings a folk song, ignoring him ("Tra la la"). Zuniga instructs Jos to arrest her, and escort her to the gaol. Carmen seduces Jos with a Seguidilla ("Prs des remparts de Sville"), and convinces Jos to let her escape. Jos is arrested for letting Carmen escape.

Act II
Evening at Lillas Pastia's inn, frequented by smugglers. Carmen and her friends Frasquita and Mercds sing and dance ("Les tringles des sistres tintaient" Gypsy Song). Zuniga attempts to woo Carmen, but she can only think of Jos, who has been in jail for a month and is due to be released that day. The Matador Escamillo is greeted with great enthusiasm by the patrons ("Vivat, vivat le Torro"). He sings the Toreador song ("Votre toast, je peux vous le rendre") and also attempts to woo Carmen. Carmen refuses him as well. The smugglers Dancaro and Remendado discuss plans with Carmen and her gypsy friends ("Nous avons en tte une affaire" Quintet). Carmen refuses to accompany them, for she only can think of Jos. Jos arrives singing a folk song ("Halte l! Qui va l! Dragon d'Alcala!"), and he and Carmen are left alone. Carmen vexes him with stories of her dancing. She then dances for him alone ("Je vais danser en votre honneur...Lalala"), but is interrupted by the trumpets calling the soldiers to the barracks. Carmen's temper flares when Jos begins to leave, causing him to pledge his devotion to her in the Flower Song ("La fleur que tu m'avais jete"). Carmen asks him to join the smugglers if he really loves her ("Non, tu ne m'aime pas"). He refuses and begins to leave when he is surprised by Zuniga. He draws his sword upon his superior officer, but the Gypsies disarm both of them and take away Zuniga ("Mon cher monsieur"). Jos is forced to flee with Carmen ("La bas dans le montagne").

Act III
A rocky gorge, where the smugglers ply their trade. Jos arrives with the smugglers ("coute, coute, compagnon"), but Carmen loves him no longer, realizing that he is not her match. She now turns to Escamillo. Carmen, Frasquita and Mercedes read the cards ("Mlons! Coupons!"). Frasquita and Mercedes foresee love and romance, wealth and luxury in their cards; but Carmen's cards foretell death for her and Jos ("En vain pour viter les rponses amres"). The smugglers plan their actions ("Quant au douanier, c'est notre affaire"). Micala arrives with a guide seeking Jos ("Je dis, que rien ne m'pouvante"), and hides in the rocks when she hears a gunshot. Escamillo arrives and tells Jos that he is infatuated with Carmen and tells Jos the story of her affair with a soldier, not knowing that Jos is the soldier. A fight between Jos and Escamillo over Carmen is narrowly averted by the smugglers ("Hol, hol Jos"). Escamillo leaves, but invites Carmen and the smugglers to the bullfights. Micala emerges and tells Jos that his mother wishes to see him. At first he refuses to go ("Non, je ne partirai pas!"), until Micala tells him that his mother is dying. Vowing that he will return to Carmen, he leaves. As he is leaving, Escamillo is heard singing in the distance. Carmen rushes to the sound of his voice, but Jos bars her way.

Act IV
A square before the arena at Seville. The general populace prepare for the bull fight ("A deux cuartos!") (occasionally played as a ballet with a different text: "Dansez, dansez") and they see the cuadrilla arrive ("Les voici! voici la quadrille"). Carmen and Escamillo are greeted by the crowds and celebrate love and victory, Carmen adding that she had never loved one so much ("Si tu m'aimes, Carmen"). Frasquita warns Carmen that Jos is in the crowd ("Carmen! Prends garde!), and that he intends to kill her, but Carmen says she will speak to him. Before she can enter the arena she is confronted by the pale and despairing Jos ("C'est toi! C'est moi!"). For the last time, half-crazed he demands her love and fidelity, even after she repeatedly explains that she loves him no longer. When she scornfully throws back the ring that he gave to her ("Cette bague, autrefois), he stabs her to the heart ("Eh bien, damne") and she dies at the moment that Escamillo triumphs in the arena. The spectators exit the arena and Jos, completely broken, confesses his action to all, exclaiming: "Ah! Carmen! ma Carmen adore!".

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Act I Scene 1: A room in the palace. The Duke has seen an unknown beauty in the church and desires to possess her. He also pays court to the Countess Ceprano. Rigoletto, the hunchbacked jester of the Duke, mocks the husbands of the ladies to whom the Duke is paying attention, and advises the Duke to get rid of them by prison or death. The noblemen resolve to take vengeance on Rigoletto, especially Count Monterone, whose daughter the Duke had dishonoured. Monterone curses the Duke and Rigoletto.

Scene 2: A street; half of the stage, divided by a wall, is occupied by the courtyard of Rigoletto's house. Thinking of the curse, the jester approaches and is accosted by the bandit Sparafucile, who offers his services. Rigoletto contemplates the similarities between the two of them - Sparafucile uses his sword, Rigoletto his tongue and wits to fight. The hunchback opens a door in the wall and visits his daughter Gilda, whom he is concealing from the prince and the rest of the city. She does not know her father's occupation and, as he has forbidden her to appear in public, she has been nowhere except to church. When Rigoletto has gone the Duke enters, hearing Gilda confess to her nurse Giovanna that she feels guilty for not having told her father about a student she had met at the church, but that she would love him more if he were poor. Just as she declares her love, the Duke enters, overjoyed, convincing Gilda of his love, though she resists at first. When she asks for his name, he hesitantly calls himself Gualtier Mald. Steps are overheard and, fearing that her father has returned, Gilda sends the Duke away after they quickly repeat their love vows to each other. Later, the hostile noblemen seeing her at the wall, believe her to be the mistress of the jester. They abduct her, and when Rigoletto arrives they inform him they have abducted the Countess Ceprano, and with this idea he assists them in their arrangements. Too late Rigoletto realises that he has been duped and, collapsing, remembers the curse.

Act II: The Duke hears that Gilda has been abducted. The noblemen inform him that they have captured Rigoletto's mistress and by their description he recognises Gilda. She is in the palace, and he hastens to see her, declaring that at last, she will know the truth and that he would give up his wealth and position for her who had first inspired him to really love. The noblemen, at first perplexed by the Duke's strange excitement, now make sport of Rigoletto. He tries to find Gilda by singing, and as he fears she may fall into the hands of the Duke, at last acknowledges that she is his daughter, to general astonishment. Gilda arrives and begs her father to send the people away, and acknowledges to him the shame she feels of finding out his profession. The act ends with Rigoletto's oath of vengeance against his master.

Act III: A street. The half of the stage shows the house of Sparafucile, with two rooms, one above the other, open to the view of the audience. Rigoletto enters with Gilda, who still loves the prince. Rigoletto shows her the Duke in the house of the bandit amusing himself with Sparafucile's sister Maddalena, half-drunk in despair over losing Gilda. The Duke then sings the most famous aria of the opera, La donna e mobile, explaining the infidelity and fickle nature of women. Rigoletto bargains with the bandit, who is ready to murder his guest, whom he does not know, for money. Rigoletto orders his daughter to put on man's attire and go to Verona, whither he will follow later. Gilda goes, but fears an attack upon the Duke, whom she still loves, despite believing him to be unfaithful. Rigoletto offers the bandit 20 scudi for the death of the Duke. As a thunderstorm is approaching, the Duke determines to remain in the house, and Sparafucile assigns to him the ground floor as sleeping quarters. Gilda returns disguised as a man and hears the bandit promise Maddalena, who begs for the life of the Duke, that if by midnight another can be found to take the Duke's place he will spare his life. Gilda resolves to sacrifice herself for the Duke and enters the house. When Rigoletto arrives with the money he receives from the bandit a corpse wrapped in a bag and rejoices in his triumph. He is about to cast the sack into the river, weighting it with stones, when he hears the voice of the Duke singing a reprise of his bitter aria as he leaves the house. Bewildered, he opens the bag and to his despair discovers the corpse of his daughter, who for a moment revives and declares she is glad to die for her beloved. As she breathes her last, Rigoletto exclaims in horror, "The curse!" which is fulfilled upon both master and servant.

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Der Nussknacker (The Nutcracker) is a fairy tale ballet in two acts by Pyotr Ilyich Tchaikovsky, composed between 1891 and 1892 and based on Der Nuknacker und der Mauseknig (The Nutcracker and the Mouse King), a story by E. T. A. Hoffmann. An adaptation of the story was set to music by Tchaikovsky (after a libretto possibly written by Marius Petipa) and commissioned by the Imperial Theatre in 1891.

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Based on William Shakespeare’s comedy of the same name.

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Clytemnestra and Aegisthus have slain King Agamemnon. Clytemnestra performed the deed with a righteous conscience: her husband Agamemnon had sacrificed their daughter Iphigenia to gain success in the war against Troy.

Electra doesnt accept the justice of this. Her only thought is to revenge the death of her father Agamemnon. So she, who has separated herself from the entire community, keeps the thought of the deed and of vengeance alive for all.

Life shall not go on until the murder is expiated and Agamemnon honorably buried by his and Clytemnestras children Electra, Chrysothemis and Orestes. But Chrysothemis demands that she lives now, be a woman, and have children.

Electra waits for Orestes return. As rightful heir and thus a danger for the new rulers, he was sent abroad after the murder.

Rigid ritual dominates the events: Electra invokes her dead father, while Clytemnestra tries to find her peace in sacrifices and streams of blood. But Electra says the proper sacrifice can only be the mother herself.

Clytemnestra sighs with relief at the news of Orestes death. His threat to her life and rule seems overcome. But the report is false.

When Electra decides to avenge Agamemnon by herself, since Chrysothemis cannot be swayed to help, Orestes appears. He carries out the task, killing Clytemnestra and Aegisthus and assuming the throne, laden with new guilt.

Electra, who has devoted her life to revenge, has become superfluous. She wasnt even able to give Orestes the axe she long kept to perform the deed. Her destiny can only be silence and dancing. Burned out, she collapses.

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Figaro, the former Barber of Seville, has now become the valet of Count Almaviva in a castle nearby Seville. He loves Susanna, the ladys maid of Countess Rosina. The two of them intend to get married. But their wedding is threatened.

ACT I:

While measuring the newly allocated room by Count Almaviva, Figaro learns from Susanna that the Count is after her. He now insists on the privilege of the first night with Susanna, disregarding that he has had abolished this custom on his domain. Not only the Count, but also Marcellina threatens the marriage of Figaro. Indebted, he once promised marriage to her, if he was not able to pay back his debts. Bartolo encourages Marcellina, who is running his household, in insisting on the marriage. Cherubino, the Counts page, is raving about the Countess and asks Susanna for help, since their jealous lord plans to dismiss Cherubino. Susanna hides him from the Count and his music teacher Basilio, but Cherubino is discovered. Lead by Figaro, the villagers celebrate the Count as a noble preserver of female virtue, but in vain. Since he counts on the effects of Marcellinas insisting on the marriage with Figaro, the Count wants to postpone Figaros marriage in the first place. When Susanna and Figaro ask their lord to pardon the dismissed Cherubino, he nominates Cherubino as an officer in his regiment and sends him off immediately. Figaro makes fun of the reluctantly promoted by picturing his coming military deeds.

ACT II:

Countess Rosina laments on the unfaithfulness of her husband. She agrees to Figaros plan to convict the Count of infidelity by inviting him to a rendezvous with Susanna, only Cherubino disguised as Susanna. The aim is to make the Count consent to the marriage. Figaro has sent an anonymous letter to the Count, in which he is informed about a secret date of the Countess with a rival. While Cherubino tries on Susannas clothes, the jealous Count arrives. Cherubino is locked into a dressing room and both Countess and Count leave to get tools to open up the room. Meanwhile, Susanna rescues Cherubino from his hiding place. The page escapes through an open window and Susanna takes his place in the dressing room, to the surprise of Countess and Count. The gardener Antonio arrives, complaining bitterly that someone broke a flowerpot while jumping off the balcony. Arduously, Figaro clears the situation by confessing that it was him who jumped into the garden. Marcellina, Bartolo, and Basilio enter the scene and request the contract to be ratified, in which Figaro promised marriage to Marcellina. Once more, Figaros marriage is being postponed to enable the Count to undertake legal investigation of the situation in a proper order.

ACT III:

After Susanna asks the Count for a rendezvous, which the Countess plans to join disguised as her maid, the Count again becomes suspicious, when he overhears Susanna declaring to Figaro that his case is almost won. When the lawyer Don Curzio declares the decision of the case, they happily discover Figaro being the lost son of Marcellina and Bartolo. The Count gives in and agrees to both the marriage of Susanna and Figaro as well as to the one of Marcellina and Bartolo. The Countess dictates Susanna a letter to the Count, inviting him to a nocturnal date in the park. When the village girls pay homage to the Count, he discovers the disguised Cherubino among them. But Barbarina, the gardeners daughter, reminds the Count frankly of prior promises made during a lovers meeting and therefore the Count has to agree to her wedding with the page as well. Count Almaviva is reconciled for the moment, when he secretly receives the invitation from Susanna for a rendezvous in the park during a wedding dance.

ACT IV:

Barbarina looks for the pin that she is supposed to bring back from the Count as the seal of his consent to the nocturnal rendezvous. Enraged, Figaro learns from Barbarina of Susannas putative unfaithfulness. When he recognizes Susanna dressed as the Countess, he courts her effusively and in return gets slapped in the face. The Count curses and swears against his allegedly unfaithful wife, however, he must observe the confusion being cleared up. In the end the couples get together, first of all Figaro and Susanna. Full of remorse, Almaviva asks the Countess for forgiveness. Finally, the marriage of Figaro can take place.

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Don Carlo (Don Carlos) is an opera in four acts by Giuseppe Verdi, with libretto by Angelo Zanardini. It was composed between 1866 and 1867 and was revised in 1872, originally being a five act opera. It was revised again between 1882 and 1883 becoming a four act opera. The original version premiered on 11 March 1867 at the Opéra in Paris and the revised version premiered on 10 January 1884 at La Scala in Milan.

Il Turco in Italia (The Turk in Italy) is an opera in two acts by Gioachino Rossini, with Italian language libretto by Felice Romani. It was a re-working of a libretto by Caterino Mazzolà set as an opera (with the same title) by the German composer Frans Seydelmann in 1788. It was composed in 1814 and premiered at La Scala in Milan on 14 August 1814.

Synopsis

Act 1

A poet is searching for a plot for a drama buffo and meets a band of Gypsies, including the beautiful but unhappy Zaida and her confidant Albazar. Perhaps the Gypsies can provide some ideas? The poet's friend, the obstinate and sometimes foolish Geronio, is looking for a fortune teller to advise him on his marital problems, but the Gypsies tease him. Zaida tells the poet that she is from a Turkish harem. She and her master prince Selim were in love, but jealous rivals accused her of infidelity and she had to flee for her life, accompanied by Albazar. Nevertheless she still loves only one man and that man is Selim. The poet knows that a Turkish prince will shortly be arriving in Italy. Perhaps he can help? Geronio's capricious young wife Fiorilla enters singing (in contrast to Zaida) of the joys of free and unfettered love. A Turkish ship arrives and the prince disembarks. It is Selim (bass) himself. Fiorilla is immediately attracted to the handsome Turk, and a romance rapidly develops. Narciso (tenor) appears in her pursuit. He is an ineffectual admirer of Fiorilla posing as a friend of her husband. Geronio follows, horrified to learn that Fiorilla is taking the Turk home to drink his coffee!

The scene changes to Geronio's house where Fiorilla and Selim are flirting. Geronio enters timidly and Selim is initially impressed by his unexpected meekness, however Narciso noisily scolds Geronio. The domestic menage irritates Selim and he leaves after quietly arranging to meet Fiorilla again by his ship. Geronio tells Fiorilla he will not allow any more Turks - or Italians - in his house. She sweetly undermines his complaints, and then, when he softens, threatens to punish him by enjoying herself even more wildly.

Back at the sea shore, it is now night. Selim is waiting for Fiorilla. Instead he meets Zaida. The former lovers are shocked, delighted, and declare once more their mutual love. Narciso re-appears, followed by Fiorilla in disguise, with Geronio in pursuit. Selim confuses the veiled Fiorilla with Zaida and the two women come suddenly face to face. Fiorilla accuses Selim of betrayal. Zaida confronts Fiorilla. Geronio tells his wife to go home. There is a stormy finale.

Act II

Selim approaches Geronio amicably, offering to buy Fiorilla. That way Geronio can be rid of his problems and also make some money. Geronio refuses. Selim vows to steal her instead. After they leave, Fiorilla and a group of her friends appear, followed by Zaida. Fiorilla has set up a meeting between them and Selim, so that the Turk will be forced to decide between the two women. In the event he is indecisive, not wishing to lose either of them. Zaida leaves in disgust. Selim and Fiorilla quarrel but are eventually reconciled. As the poet tells Geronio, there is going to be a party. Fiorilla will be there to meet Selim, who will be masked. Geronio should also go - disguised as a Turk! Narciso overhears this; he will take advantage of the situation to take Fiorilla himself, in revenge for her former indifference. Geronio laments his destiny, that he should have such a terrible, crazy wife. Albazar passes by holding a costume - for Zaida!

The scene changes to a ballroom with masqueraders and dancers. Fiorilla mistakes Narciso for Selim and Narciso leads her away. Meanwhile Selim enters with Zaida, under the impression that she is Fiorilla. Geronio is in utter despair at finding two couples and two Fiorillas! Narciso and Selim both entreat their partners to leave with them. Confused and angry, Geronio attempts to stop both couples, but they eventually escape.

Back at the inn, the poet meets Geronio. They now know that Selim was with Zaida and guess that Fiorilla was with Narciso. Albazar confirms that Selim will definitely stay with Zaida. The poet advises Geronio to have his revenge on Fiorilla by pretending to divorce her and threatening to send her back to her family. Having discovered Narciso's deception, Fiorilla tries to find Selim, but he has already left with Zaida. She returns home only to find the divorce letter and her belongings being removed from the house. She is devastated by shame, and promptly deserted by her friends.

Returning again to the beach, Selim and Zaida are about to set sail for Turkey, while Fiorilla is looking for a boat to take her back to her home town. Geronio finds and forgives her. They are affectionately reconciled. Both couples are now reunited and the poet is delighted with his happy ending.

L’elisir d’amore (The Love Potion or The Elixir of Love) is an opera in two acts by Gaetano Donizetti, with libretto by Felice Romani. It was composed in 1832 and premiered on 12 May 1832 at the Teatro Canobbiana in Milan.

A weekend in an Italian mountain village: Giannetta, a young bus driver who has ambitions of becoming a director, wants to stage a masque with the people of the village.

The villagers have chosen Nemorino, a young laborer, to play the leading role. He has loved Adina, the village's lively waitress, since his school days and he is teased constantly about his futile efforts to win her.

The postman Belcore takes on the role of his adversary. He plays an officer of the Alpini mountain troops and makes a desperate attempt to save his reputation as the village charmer in the part. The waitress brings a cheap novel about Tristan and Isolde and the passion triggered by the love potion they drank, to the first rehearsal. She introduces a lot of confusion into the plot with the story, confusing Nemorino in particular, who thinks it applies to his own situation.

The village priest, Dulcamara, owes it to his position to play a role in the masque as well. Moreover, since he doesn't like the communion wine that was recently delivered, he donates it to the play. And while the entire village enjoys the free wine, Nemorino waits for the magic potion to take effect.

Il barbiere di Siviglia (The Barber of Seville) is an opera buffa in two acts by Gioachino Rossini with a libretto by Cesare Sterbini. The première (under the title Almaviva, or the Useless Precaution) took place on 20 February 1816 at the Teatro Argentina, Rome and though an infamous flop, The Barber of Seville has become a standard of comic opera repertory.

Is an opera in one act by Othmar Schoeck, with libretto by the composer, after the tragedy by Heinrich von Kleist.

Achilles has defeated Penthesilea in battle. However, captivated by the female warrior, he pretends to have lost the battle in order to win her hand (the law states that the queen of the Amazons can only give herself to a man whom she has conquered in battle).

Penthesilea, thus fooled, is consumed by her love for Achilles. This quickly turns to a savage hate when he reveals the truth. A further battle ends in catastrophe. Penthesilea kills her former lover, unaware that he stands unarmed in order – in defeat – to secure their happiness together.

Too late she learns of this proof of his love and dies over his mutilated body. The struggle for love between the two protagonists is at the core of the opera, illustrating the battle of the sexes and the shifting arc of emotions from love to hate. A further (love) motive is the triumph of the victor over the defeated.

Opera in three acts by Giuseppe Verdi

How deeply the fate of court jester Rigoletto and his sheltered daughter Gilda moves us! The opera was enthusiastically received at its premier performance in 1851 at Teatro La Fenice in Venice. Today, the opera continues to draw those who would always gladly be moved by Giuseppe Verdi’s melody of a futile quest for a little bit of happiness and the tragic experiences associated with this pursuit.

Rigoletto wants nothing more than retreating into a happy private life with his daughter after finishing his service to the court. Through his activities for the Duke of Mantua, he catches on to the thoughtless amusements, knows the pastimes of those who have it too good and who take too much. Lacking any awareness of wrongdoing, they have no concept of sympathy, simply because they defer to nothing and to no one. They are the law for they have the power. Rigoletto will at times join in, because it is the world in which he earns a living for himself and his motherless daughter. But then he flees into the purity of his domesticity. Which he can only maintain by keeping his private life strictly separated from his social one and raising Gilda isolated from the public eye. But isolation has its price: in church, the only public place she is allowed to go, Gilda meets the love of her life. For those not familiar with the story: her beloved is the duke himself, although incognito pretending to be a student. And Rigoletto, envied and hated by the others, unknowingly becomes the helper and accomplice in the abduction of his own daughter, bound for the Duke’s sleeping chambers. He swears revenge on the duke and arranges for his assassination.

Gilda learns of the conspiracy to murder the duke and follows her new life plan, modelled on not clinging but rather selflessly protecting – she sacrifices her life for her unfaithful beloved. She is inspired by an idealism known only to those who confront life with illusions. Fleeing through a life unknown for love, she is unprepared for it and destined to perish. Seeing his daughter dying instead of the duke destroys Rigoletto’s life.

What a dark panorama of the world unfolds in this opera!

The story’s poetic basis is Victor Hugo’s drama Le roi s’amuse. The premiere performance of the drama in 1832 caused a considerable stir, Verdi and his librettist Francesco Maria Piave were plagued by censorship: a governing sovereign, Francis I of France, was not permitted to appear on stage as a debauchee. Verdi sprinkled name changes for the main figures throughout his work and set it in a different place and time. And he made the court jester the title hero. And yet his peers would certainly not have had any trouble understanding the message as being contemporary.

With Rigoletto, Verdi, who himself lost two children in a short period of time and who was regarded as a politically and socially committed artist, created a musical drama of a world filled with justice and injustice in the face of misuse of power and self-serving love cutting deeply through life’s social strata and confines. Whether his figures are entirely guilty or only innocently guilty, they are trapped as if before a mirror. They are people with all their good as well as their bad sides. But there is also a woman – as laer in Il Trovatore and La Traviata – befallen by injustice on which she bases her love, her idealistic dreams of happiness maturing just as vaguely as the more or less realistic illusions of life held by the men.

Making his name not only as a true genius of Italian opera, but also as an inventive author of finest recipes, Gioacchino Rossini has predicted the glorious future for his Il barbiere di Siviglia whose premiere was met with scandalous disapproval. To all appearances he was right! Its second performance in 1816 marked the beginning of the triumphant march of Il barbiere di Siviglia on the world's major and minor opera stages. It received its first Lithuanian production in 1924 to be followed by numerous subsequent productions in Kaunas, Vilnius and Klaipeda. During the WWII and in postwar years it was produced by the short-lived Vilnius Opera company (1941-4) in 1944 and by the emigrant members of our theatre in Detmold in 1947.

Playful, tuneful, brimming with intriguing situations and chipper wit, Rossini's opera is a perfect spectacle for all comers. Il Barbiere di Siviglia Gioachino Rossini

ACT I.
Seville, 1800s. At night, Count Almaviva brings a band of musicians to serenade Rosina, ward of Dr. Bartolo, who keeps the girl confined in his house. When Rosina fails to answer his song, the count pays the players, and they leave. At the sound of Figaro's voice, Almaviva steps away as the barber bounds in, boasting of his busy life as the neighborhood factotum. Figaro, though currently in Bartolo's employ, encounters Almaviva and promises to help him win Rosina - for a suitable reward. No sooner has Bartolo left the house to arrange his own marriage with Rosina than Almaviva launches into a second serenade, calling himself "Lindoro," a poor creature who can offer only love. Figaro suggests Almaviva disguise himself as a drunken soldier billeted to Bartolo's house. Alone in the house, Rosina muses on the voice that has touched her heart and resolves to outwit Bartolo. Figaro joins her, but they leave on hearing footsteps. Bartolo enters with the music master, Don Basilio, who tells him Almaviva is a rival for Rosina's hand and advises slandering the nobleman's reputation. Bartolo agrees, but Figaro overhears them. Warning Rosina that Bartolo plans to marry her himself the very next day, the barber promises to deliver a note she has written to "Lindoro." Rosina, alone with Bartolo, undergoes an interrogation, then listens to his boast that he is far too clever to be tricked. Berta, the housekeeper, answers violent knocking at the door, returning with Almaviva disguised as a drunken soldier in search of lodging. While arguing with Bartolo, Almaviva manages to slip a love letter to Rosina. But when Bartolo demands to see the letter, the girl substitutes a laundry list. Figaro dashes in to warn that their hubbub has attracted a crowd. Police arrive to silence the disturbance. As an officer is about to arrest him, Almaviva whispers his identity and is released. Rosina, Berta, Bartolo and Basilio are stupefied by everything that is happening.

ACT II.
Bartolo receives a young music teacher, "Don Alonso" (again Almaviva in disguise), who claims to be a substitute for the ailing Basilio. Rosina enters, recognizes her suitor and begins her singing lesson as Bartolo dozes in his chair. Figaro arrives to shave the doctor and manages to steal the key to the balcony window. Basilio now comes in, looking the picture of health; bribed by Almaviva, he feigns illness and departs. Figaro shaves Bartolo while Almaviva and Rosina plan their elopement that night. They are overheard by the doctor, who drives Figaro and Almaviva from the house and Rosina to her room, then sends again for Basilio. Berta, unnerved by all the confusion, complains she is going mad. Bartolo dispatches Basilio for a notary, then tricks Rosina into believing "Lindoro" is really a flunky of Almaviva. After a thunderstorm, Almaviva arrives with Figaro and climbs through a balcony window to abduct Rosina. At first the girl rebuffs "Lindoro," but when he explains that he and Almaviva are one and the same, she falls into his arms. Figaro urges haste, but before they can leave, their ladder is taken away. Basilio enters with the notary. Though summoned to wed Rosina and Bartolo, the official marries her instead to Almaviva, who bribes Basilio. Rushing in too late, Bartolo finds the lovers already wed. When Almaviva allows him to keep Rosina's dowry, the old man accepts the situation.

Performed in Italian with German surtitles!!

German opera in two acts by Wolfgang Amadeus Mozart.

Overture

The Three Boys are playing at dice to decide the outcome of Tamino’s fate.

Act I

The sight of a woman and appearance of a huge serpent cause Tamino to faint.

The Three Ladies, attendants of the Queen of the Night, come to Tamino’s aid and play with him.

Tamino awakes and sees the birdcatcher Papageno. He wants to bring the birds that he catches to the Queen in exchange for food and drink.

Tamino reveals that he is a prince. Papageno boasts that he strangled the serpent and the Three Ladies punish him.

They give Tamino a portrait of the Queen’s daughter, Pamina. It is love at first sight. When he learns that the maiden was abducted by the tyrant Sarastro, he vows to rescue her. The Queen appears. She encourages Tamino’s resolution and promises that he can marry Pamina in return.

Tamino and Papageno are given a magic flute and magic bells to protect them. The Three Boys are to guide them on their way.

The slaves in Sarastro’s kingdom are pleased. It seems that Pamina has escaped her persecutor, the Moor Monostatos. But Monostatos has already recaptured the maiden and scares off the slaves so he can be alone with her. Just as he is about to approach her, Monostatos encounters Papageno, sent ahead by Tamino. Both are terrified by each other and run away but Papageno returns to Pamina and tells her of their plan to free her. Together they praise love as the fulfilment of human existence.

Tamino, guided by the Three Boys, has meanwhile entered the inner temple where he meets one of the first attendants of the brotherhood. This priest advises him to examine impartially the reasons for Sarastro’s abduction of Pamina. Confused, Tamino remains behind and tries to find Pamina by playing the magic flute. But he only hears Papageno’s flute in reply and follows the sound.

Fleeing, Pamina and Papageno are surprised by Monostatos and the slaves but they are saved from capture by the power of the magic bells. The arrival of Sarastro is announced. Before him, Pamina confesses that she was trying to escape, justifying herself by saying: "The evil Moor had demanded her love." Sarastro insists that she remain under his rule because this is the only way for her to escape her mother’s influence: "A man must guide your hearts, without a man any woman leaves his circle of influence." He punishes Monostatos, even though the Moor can pride himself on capturing Tamino. Tamino and Pamina meet for the first time. Sarastro has the strangers taken away to be "cleansed" for the trials.

Act II

At the meeting of the brotherhood, Sarastro announces his decision to marry Tamino and Pamina as soon as Tamino complies with the brotherhood’s laws. He therefore orders a series of trials - without regard for danger of death. Tamino is willing immediately but Papageno is only convinced when he is promised a wife. Tamino and Pamina are separated from each other.

Tamino and Papageno are led to the first trial with the warning to avoid the "temptation of women". They have to maintain a vow of silence in any situation. The Queen’s Three Ladies enter Sarastro’s kingdom and try to persuade Tamino and Papageno to flee.

The amorous Monostatos wants to kiss Pamina while she lies asleep. He is thwarted by the Queen of the Night. She demands that Pamina kill Sarastro to gain possession of the powerful sun circle which her husband had withheld from her on his death and had given to the brotherhood. The Queen threatens to cast her daughter out for ever if she disobeys. Monostatos overhears this and tries to force Pamina’s love by blackmailing her.

Sarastro appears and prevents Monostatos from killing Pamina who refuses to give in to him. Sarastro promises Pamina that he will not take revenge on her mother. Monostatos decides to obtain his objective by allying himself with the Queen of the Night.

Papageno cannot hold his tongue. Speaking to an old woman, he learns that she wants to be his bride. Before he realises who she is, the old woman disappears.

The Three Boys bring Tamino and Papageno food and magical instruments which Sarastro had previously confiscated. While Papageno savours the food, Tamino plays his flute; the sound brings Pamina to him. Pamina cannot understand his silence, she believes he no longer loves her.

Papageno searches despairingly for Papagena. His pain too makes him want to kill himself. The Three Boys prevent him from committing suicide and remind Papageno that he can use the magical power of his bells to summon Papagena.

Monostatos is allied with the Queen and her Ladies. Together they plan to overturn Sarastro’s rule. As a reward, the Queen promises her daughter to the Moor. But the superior brotherhood triumphs over the conspirators. Sarastro appears to have reached the pinnacle of his desires: he hands over power to Pamina and Tamino.

Papageno does not wish to become a member of the brotherhood. His wish is for a maiden, and the old woman appears again. She emerges as the young Papagena but once again the two are separated from each other.

Left alone, Pamina tries to commit suicide. The Three Boys save her and tell her of Tamino’s undiminished love.

Two harnessed men prepare Tamino for the last big trial. Pamina wants to accompany him through the difficult trial of fire and water, and tells him to play his flute. The power of the music protects them from any danger. Together Pamina and Tamino pass the trial and make their way to the temple.

The Queen of the Night, her Ladies and the defecting Moor enter the temple to kill Sarastro. They are engulfed in eternal darkness in a clap of thunder and lightening. At the head of his priests, Sarastro blesses Tamino and Pamina. They enter the temple and are initiated into the brotherhood.

Act I

A hurricane threatens the holiday island of Cyprus, a military bastion in the Mediterranean strategically important for the Republic of Venice. The Venetian fleet under its commander Otello is in the midst of the hurricane. People on the beach appeal to God in fear of their imminent destruction. In the middle of this chaos are Cassio, recently promoted to Captain by Otello, and Montano, Otellos predecessor in office. Standing apart is Ensign Iago, who had hoped to be promoted rather than Cassio, and is now plotting Otellos downfall. He sees a potential ally in the Venetian gentleman Rodrigo who is in love with Otellos wife Desdemona. Otellos death could clear the way for him. Loud cheers announce that Otello has landed unharmed. The storm abates. The great victor suddenly appears. The world returns to normal, and there is a great celebration in honour of Otellos safe return. Iago wins over Rodrigo as an ally in pursuing his hate for Otello. They make Cassio drunk, and provoke him. A row instigated by Iago erupts, and as expected Otello puts an end to the uproar which has awoken him and Desdemona. Otello establishes order and demotes Cassio. The peace which now returns to the night belongs to Otello and Desdemona.

Act II

Iago gains Cassios trust. He sends him to Desdemona to win her over as intercessor with Otello. Left alone, he spits out his disgust of a senseless world. In a world where God is not visible, Iago makes himself God, from whom there is no escape. His strategy starts to work: Cassio speaks to Desdemona, and he succeeds in arousing Otellos mistrust of her. But first Otello is confronted with a blissful image: Desdemona amidst people who render her homage. When Desdemona speaks to him about Cassio, his mistrust develops. He rebuffs her. Iago too humiliates his own wife Emilia who is giving Desdemona her support. Otello retreats within himself at the sorrow of losing such trust. He demands that Iago produce evidence of his wifes betrayal. Iago invents an erotic dream as evidence of Cassios love for Desdemona. Otello makes Iago his blood brother, and swears with him to take revenge for such a disgrace.

Act III

The pending arrival of the Venetian legation is of no interest to Otello. He listens closely to Iago who devises traps for Cassio and Desdemona. Desdemonas unexpected visit to Otello is a welcome interruption. Following Iagos instructions, he turns the conversation to the handkerchief she has lost. But Desdemona pleads again for clemency for Cassio. Her words wound Otello deeply. He is convinced of her betrayal and wallows in self-pity. Cassios death is decided. Iago shows Otello a hiding place where he can overhear a conversation arranged with Cassio. Otello hears only snatches of the conversation which he takes to be insinuations about Desdemona, and catches sight of her handkerchief in Cassios hand. Otello believes he now has the required proof. Iago and Otello decide to murder Desdemona. Otello promotes Iago to Captain. The Venetian legation arrives, headed by Lodovico on behalf of the Doge. Desdemona pleads again for Cassio. Otello humiliates her in front of the company and, instructed by the Venetians, announces that Cassio is to succeed him as governor. Iago presses Otello to kill Desdemona and sends Rodrigo to murder Cassio. Otello breaks down. Iago is triumphant.

Act IV

Desdemona withdraws to her inner world. Emilia is unable to disburden her. Desdemona recalls the story of the Life and Death of a Woman. She prepares to take leave of the world. Otello arrives to kill her. Desdemona defends her innocence and her love. Otello does not believe her. He murders her. Emilia discovers the murder and summons witnesses. When Otello tries to justify his deed, with her handkerchief in Cassios hand as proof of Desdemonas unfaithfulness, Emilia discovers her husbands guilt. She pays for this with her life. Cassio has thwarted Rodrigos attempt on his life. Otello ends the life he has lost.

First Act
Mustafas wife Elvira complains about her fate: she has been cast out by the Bey. The eunuchs, Zulma and Captain Haly vainly try to comfort her. Mustafa has become weary of Elvira and his harem ladies he now desires an Italian woman and Haly needs to obtain her at the cost of his life. Lindoro longs for a reunion with his beloved Isabella. But Mustafa wants to fulfill Lindoros desire to return to Italy only under the condition that he marries Elvira and takes her with him. He thus tries to make his own wife palatable to the embarrassingly touched Lindoro.

Another ship has been captured; at first, Isabella, who is in search of Lindoro, is presented as a hostage. Although she complains about her lot, she hopes at the same time to make the best of the situation. Her companion Taddeo, who is in love with her, pretends to be Isabellas uncle and affects jealousy during his first official act at Mustafas Court. In the meantime, Mustafa has learned of the beautiful hostage from Haly; he is wild to get a glimpse of Isabella. In the interim, Elvira and Lindoro have accepted their fate. The clever Isabella understands from the first moment how to wrap Mustafa around her finger; she thus saves Taddeo from death by impaling. Lindoro, who appears before the Bey together with Elvira and Zulma in order to take leave, recognizes Isabella. Suddenly, there is a great deal of confusion

Second Act
Elvira unsuccessfully tries the European style in order to impress the Bey. But Mustafa wants to drink coffee alone with Isabella, and sends Elvira to inform her. Meanwhile, Lindoro and Isabella have decided to escape together. In order to stealthily procure Isabellas favor, Mustafa appoints Taddeo as Lord Kaimakan. This is rather embarrassing to Taddeo, but he willingly accepts it in the face of the threat of being impaled. Mustafa does not succeed in having an undisturbed rendezvous with Isabella. Lindoro and Taddeo cast a watchful eye on them. To make matters even worse, Isabella even invites Elvira to coffee, which totally upsets the Bey.

Lindoro informs the obtuse Taddeo of the escape plan and pacifies the irritated Bey: As a sign of her love, Isabella wants to appoint the Bey as a pappataci, an honor that involves a life consisting only of eating, drinking and sleeping. Mustafa is ecstatic and is happy to be included in the guild. All the Italian slaves on the property of the Bey are to be freed; naturally, they are happy to support Lindoros and Isabellas plan. They are all looking forward to seeing their homeland Italy again; only Taddeo does not have the slightest idea of what is going on. Mustafa is appointed as pappataci and must swear to scrupulously obey all the rules of the guild. Whatever may happen, he must not let himself be distracted from eating and drinking. Lindoro and Isabella can now flee without being caught; Taddeo, who has finally figured it out, goes with them onto the ship. Mustafa recognizes too late that he had been fooled; he remorsefully returns to Elvira and wishes the clever Italians a good trip.

The singer Sylva Varescu is in love with Edwin von und zu Lippert-Weylersheim, whose parents do not approve of the liaison and are planning an engagement to Countess Stasi for their son.

When Sylva hears about this, she goes to America with Edwin’s friend Boni (who is actually in love with Stasi), disguised as a married couple. Confusion results - but all ends happily.

After a two-year break, this classic returns to the Volksoper stage.

Please exchange Voucher at the box office at the Volksoper Vienna.

A disfigured musical genius haunts the catacombs beneath the Paris Opera and exerts strange control over a lovely young soprano. Based on "Le Fantome de L'Opera" by Gaston Leroux. Score includes: "Music of the Night," "Angel of Music," "Think of Me" and the title song. Andrew Lloyd Webber's smash musicalization of the Gaston Leroux novel won the 1988 Tony Award for Best Musical.

Running Time: Two hours and 30 minutes with one 15-minute intermission

Performance Times:

Monday: 8pm

Tuesday: 7pm

Wednesday - Saturday: 8pm

Wednesday and Saturday: 2pm

Die Zauberflöte (The Magic Flute) is on opera in two acts by Wolfgang Amadeus Mozart, with libretto by Emanuel Schinkaneder. It was composed in 1791 and premiered on 30 September 1791 at the Freihausttheater auf der Wieden in Vienna.

The gypsy Carmen is, alongside Salome, the apotheosis of the femme fatale, the murderess of men.

Jose, an outsider, has discarded his comfortable life and fiancee Micaela in order to follow the beguiling Carmen.

For her, however, freedom is paramount. After a short time Carmen leaves Jose for the bullfighter Escamillo.

The jilted lover cannot bear his loss. At a bull fight the three protagonists meet, and while the crowds cheer Escamillo’s triumph in the arena, Jose stabs Carmen to death.

The Venusberg (the Hörselberg of "Frau Holda" in Thüringia, in the vicinity of Eisenach.) Tannhäuser is held there a willing captive through his love for Venus. (Ballet scene; bacchanalian music.) Following the orgy of the ballet, Tannhäuser's desires are finally satiated, and he longs for freedom, spring and the sound of church bells. Once again he takes up his harp and pays homage to the goddess in a passionate love song, which he ends with an earnest plea to be allowed to depart. When Venus again tries to charm him, he declares: "My salvation rests in Mary, the mother of God." These words break the unholy spell. Venus and her attendants disappear, and he suddenly finds himself just below the Wartburg. It is springtime; a young shepherd sits upon a rock and pipes an ode to spring; pilgrims in procession pass Tannhäuser as he stands motionless, and he sinks to his knees, overcome with gratitude. He is discovered by the landgrave and his companions, Wolfram, Walter, Biterolf, Reimar, and Heinrich. They joyfully welcome the young singer, who had originally fled from the court because he was shamefully bested in the prize-singing contest. He initially refuses to join them, but when Wolfram informs him that his song has gained for him the heart of Elizabeth, he relents and follows the landgrave and the singers to the Wartburg.

Hall of the Wartburg. Elizabeth has been living retired from the world since Tannhäuser's disappearance. When she hears of his return, she joyfully agrees to be present at a prize contest of song, and enters the hall. Wolfram leads Tannhäuser to her; he loves her, but dares not tell her the evil he has done. The landgrave and Elizabeth receive the guests who assemble for the contest, the noblemen of the neighbourhood, who appear in rich attire. (March and chorus.) The landgrave announces the subject of the contestants' songs is to be "love's awakening". Elizabeth will grant the victor one wish, whatever it may be. Wolfram performs first; he declares that love is like a pure stream, which should never be troubled. Tannhäuser replies hotly that he finds the highest love only in the pleasure of the senses. The other singers uphold Wolfram. Tannhäuser replies to each separately, and at last in growing excitement he answers Wolfram with a love song to Venus, and declares that if the knights wish to know love as it is they should repair to the Venusberg. The women, with the exception of Elizabeth, leave the hall in horror, and the knights draw swords upon Tannhäuser. Elizabeth protects him, and since he expresses his penitence, the landgrave allows him to join a band of pilgrims bound for Rome, where he may perhaps obtain forgiveness from the pope.

An opera in three acts by Giacomo Puccini with libretto by Luigi Illica and Giuseppe Giacosa and based on Victorien Sardou's drama, La Tosca. It premiered at the Teatro Costanzi in Rome on 14 January 1900.

The bohemian Ren Graf, known as the "Count of Luxembourg", is persuaded by a rich Russian trade delegate, Basil Basilowitsch, to enter into a fake marriage in exchange for a lot of money. Basilowitsch loves the talented Angle Didier; a singer in the Apollo Theatre. Despite being a married man, Basilowitsch longs to have a countess as a lover.

Therefore he arranges for Angle to become a countess through her marriage to the Count. The marriage takes place, however, Ren Graf - contrary to the agreement he has made - does not want to release the lovely Angle.

Please exchange Voucher at the box office at the Volksoper Vienna.

Lehr's enduringly popular operetta, which became a world-wide success after its 1905 premiere at Vienna's Theater an der Wien, tells the story of the young widow Hanna Glawari, left a vast fortune, who is prevailed upon to marry a Pontevedrian in order to rescue the financially beleaguered Pontevedro.

The high-living rogue Count Danilo is pressured to be the groom but, despite his love for Hanna, he refuses to declare himself, not wishing to appear to be a mere fortune-hunter. It takes muchintrigue and feminine wiles for the all to end well, and Pontevedro to be rescued from bankruptcy.

Please exchange Voucher at the box office at the Volksoper Vienna.

This quintessential Viennese operetta deserves to be enjoyed throughout the year, and not just on New Year's Eve. Eisenstein evades a summons to serve a brief prison sentence by accepting Falke's invitation to Prince Orlowsky's party.

His wife's former beau Alfred is escorted to jail in his place, having been mistakenly identified as Eisenstein. At the party everyone plays an assumed part, and later must share in the quilt of deception.

A drunken prison guard, a stolen watch ... somehow everything is worked out in the end and the operetta's motto "Glcklich ist, wer vergisst, was doch nicht zu ndern ist" ("happy are they who forget what can't be changed") rings true. Sung in German with English surtitles.

Please exchange Voucher at the box office at the Volksoper Vienna.

In the very place where Johann Strauss himself used to direct his orchestra from the position of first violin, the absolute essence of Vienna’s classical music can once again be heard daily.

The Salonorchester Alt Wien, one of the best-known interpreters of classical Viennese music, presents an evening full of Viennese charm with the lilting sound of waltzes, polkas, arias and duets, as well as operetta and piano concerto melodies.

Accompanied by excellent opera vocalists and our enchanting ballet soloists, Vienna’s classical music reveals itself as a living firework display for all the senses.

Performance Info

Daily @ 8.15pm until 23rd Dec.

24th Dec @ 6pm

25th Dec-30th Dec @ 8.15pm

Elegant Dress (no casual wear)

Clients must make their way to the Vienna Kursalon, Johannesgasse, 1010 Vienna to exchange their voucher at the box office about half an hour before performance begins.

The well known tragic love story between the high-class coutesan Violetta and Alfredo, son of a respected Parisian family. With Alfredo the beautiful high-class courtesan Violetta finally finds true love. After a brief spell of happiness enjoyed together Alfredo's father manages, nevertheless, to convince Violetta of the social damage this relationship causes his family.

In desperation, she leaves Alfredo and throws herself into the Parisian demimonde with disastrous effects on her health,already ravaged by consumption. Reconciliation comes too late. Sung in Italian with German surtitles.

Please exchange Voucher at the box office at the Volksoper Vienna.

Magistic Cruises will redefine your harbour dining experience as you enjoy a seafood lunch buffet aboard this luxury restaurant afloat. Dine in contemporary, air conditioned surroundings, sip a cool drink from the bar and view the sights of Sydney Harbour such as the Sydney Harbour Bridge, the Opera House, Fort Denison, Luna Park and Sydney's million dollar waterfront mansions.

A popular choice for locals and visitors alike, this exquisite buffet serves an array of fresh local seafood, hot and cold dishes, salads, desserts, cheeses and fruit. Non seafood diners and vegetarians will be equally impressed.

At Magistic we value freshness and we are the only cruise operators on Sydney Harbour that insists all our menu's are freshly prepared onboard in our modern galleys.

So escape the ordinary and enjoy a lavish buffet lunch cruise on beautiful Sydney Harbour with Magistic Cruises!

MENU

- Fresh prawns with tomato mayonnaise
- Sydney rock oysters with green mango chutney
- Platter of cured meat with cherry & beetroot relish
- Steamed chicken hokkien style with ginger & soy
- Sirloin stroganoff with sour cream & chives
- Thai red curry
- Mediterranean vegetable frittata
- Potato, caulifower & broccoli with white wine cream sauce
- Steamed rice
- Create your own caesar salad
- Green bean & shaved egg salad with almonds
- Potato salad with light pesto mayonnaise
- Spinach & walnut salad with nashi pears & citrus
- Vermicelli & prawn salad with asian greens
- Tossed green salad
- Fresh selection of bread
- Deluxe cheese display with crackers
- Selection of desserts
- Fresh fruit

Indicative menu only, items subject to change without notice.

DRINKS MENU - Available for purchase on board

Beers
- Crown Lager
- Asahi
- Tooheys Extra Dry
- Cascade Light
- Corona

Spirits
- Bacardi, Brandy, Bourbon,
- Bundaberg Rum, Gin, Scotch, Vodka
- Premium Spirits
- Jack Daniels, Jim Beam,
- Ouzo, Southern Comfort, Tequila,
- Johnnie Walker Black Label Mini-bottle (50ml)

Liqueurs
- Baileys, Cointreau, Kahlua, Malibu,
- Midori, Sambucca, Tia Maria
- Breezers and Cruisers
- Barcardi & Lime or Vodka & Orange

Soft Drinks
- Cola, Diet Cola, Ginger Ale,
- Lemonde, Lemon Squash
- Juices
- Apple, Orange, Tomato, Pineapple,
- Red Grapefruit
- Mineral Water (Bottled)
- San Pellegrino Sparkling Italian Water 500ml
- Aqua Panna Still Italian Water 500ml

Times: Daily

King Street Wharf 5 (Main Pick up Point)
Boarding: 12.00pm
Departure: 12.15pm
Return: 2.15pm

Circular Quay Jetty 6 (Alternate Pick Up Point)
Boarding: 12.30pm
Departure: 12.45pm
Return: 2.30pm

Running Time: 1 hour 45 minutes

Rigoletto is paid to keep his master laughing, but the Duke’s lechery for the innocent Gilda turns Rigoletto from spiteful joker to desperate father. Verdi paints his characters’ transformations with a cascade of brilliant arias and ensembles, in a return of one of Opera Australia’s best-loved productions.

Opera Australia is thrilled to welcome back one of Britain's most distinguished baritones to make his Australian role debut. Alan Opie is a regular guest at New York's Metropolitan Opera, La Scala, Milan and the Royal Opera House. He now brings his celebrated interpretation of Rigoletto to the Sydney Opera House for the first time.

The award winning Opera Australia Chorus is ready to launch into Verdi's rousing choruses, Emma Matthews plays Gilda, and in the role of the dangerously sexy Duke of Mantua we introduce Australian tenor Paul O'Neill. As for the deadly assassin Sparafucile, the dark voiced David Parkin, winner of Operatunity Oz, steps back into the role as a fully fledged member of the Opera Australia ensemble.

Venue: Opera Theatre
Dates: 18 September – 4 November
Duration: two hours and forty-five minutes including two twenty-minute intervals.

The inimitable Anthony Warlow dons his cutlass for another voyage as Gilbert & Sullivan’s foot-stomping, wise-cracking, feel-good show sails back into town, complete with its crazy cartoons, swashbuckling heroes and dainty heroines, performed by the stars of Opera Australia.

Some pirates sail the Caribbean. Some search for buried treasure. Some do all kinds of terrible deeds, but not these ones. Prepare to meet the soppiest, silliest set of pirates that ever were, led by a Pirate King who loves to sing.

Gilbert and Sullivan's fifth collaboration has long been high on the list of all-time favourites, but no one could have predicted the runaway success of this production, directed by Stuart Maunder and designed by Roger Kirk.

If you didn't see Pirates the first time round, this is your chance to see a show the whole of Australia loved. If you did see it, you'll know to bring the family to enjoy favourites like 'Poor wand'ring one', 'A policeman's lot is not a happy one' and 'Hurrah for the Pirate King', performed with zest and style by the stars of Opera Australia.

Venue: Opera Theatre
Dates: 25 August – 6 November
Duration: two hours and ten minutes including one twenty minute interval.

(In English The Abduction from the Seraglio; also known as Il Seraglio) is an opera Singspiel in three acts by Wolfgang Amadeus Mozart. The German libretto is by Christoph Friedrich Bretzner with adaptations by Gottlieb Stephanie. The plot concerns the attempt of the hero Belmonte, assisted by his servant Pedrillo, to rescue his beloved Konstanze from the seraglio of the Pasha Selim.

Act 1

Belmonte seeks everywhere his betrothed, Konstanze, who with her English servant Blondchen has fallen into the hands of pirates who sold them to the Pasha Selim (Aria: "Here shall I see you, Konstanze, you my hope.") Osmin, the Pasha's servant, comes to pluck figs in the garden and completely ignores Belmonte's addresses (Aria: "Who a love has found.") Belmonte insists and tries to obtain news of his servant, Pedrillo. (Duet: "Confounded be you and your song.") Osmin is angry. ("Such ragamuffins.") Nevertheless, after the servant leaves, Belmonte meets Pedrillo and they resolve to abduct Konstanze. (Aria: "Konstanze, Konstanze, to see thee again").

Accompanied by a chorus of Janissaries ("Sing to the great Pasha") Selim appears with Konstanze, for whose love he strives in vain. (Aria of Konstanze: "O forgive! Oh, I loved") Upon the recommendation of Pedrillo, the Pasha engages Belmonte as builder, but Osmin refuses him access to the palace. (Terzett: "March! March! March!")

Act 2

Blondchen repulses the rough lovemaking attempts of Osmin. (Aria: "By tenderness and flattery.") After a duet ("I go, but counsel thee to avoid the villain Pedrillo"), Osmin departs. Konstanze greets Blondchen in distress (Aria: "Sorrow has become my lot"), informing her that Selim demands her love and threatens to use force. (Aria: "This also will I bear.")

When she has gone, Pedrillo comes to Blondchen, who is his sweetheart, and informs her that Belmonte is near and that all is ready for flight. Blondchen is filled with joy. (Aria: "What happiness, what delight.") Pedrillo invites Osmin to drink, hoping that he will become intoxicated. (Aria: "On to the combat" and duet: "Vivat Bacchus!") He succeeds in this plan and gets Osmin out of the way so that Belmonte again sees his beloved Konstanze. (Quartet, Belmonte, Konstanze, Pedrillo, Blondchen: "Oh, Belmonte, oh my life.")

Act 3

Belmonte and Pedrillo come to the garden with ladders. (Aria, Belmonte: "When the tears of joy do fall"; Romanze, Pedrillo: "Captive in the land of the Moors.") Belmonte succeeds in abducting Konstanze, but when Pedrillo is about to escape with Blondchen, they are caught by Osmin (Aria: "Ho, how I will triumph"), and Belmonte and Konstanze are also brought back by the guard. Belmonte pleading for their lives announces to Selim Pasha that his father is a Spanish Grandee and Governor of Oran who will pay a huge ransom, on hearing the name of Belmonte's father, Selim Pasha declares Belmonte the son of his greatest enemy, and rejoices on how fortune has handed him a chance for vengeance. (Duet: "Oh what a fate, oh soul's misery.") His heart, however, is touched by their sorrow; he forgives, and all are set at liberty - much to the dismay of Osmin, who would prefer to see them all brutally executed. (Finale: "Never will I thy kindness forget.")

Wagner turns his attention to British mythology with this opera of chivalry and true love.

ACT I.
The legend of Tristan and Isolde (Tristram and Iseult) takes place during the Middle Ages, when knighthood and the chivalric code prevailed. On board ship from Ireland to Cornwall, a sailor's voice resounds from the rigging. His song about an Irish girl annoys the fiery Isolde, who is being taken by Tristan as bride for his uncle, King Marke. Isolde wishes the ship would sink rather than take her to her hated destination. Her companion, Brangäne, tries in vain to calm her. Instead Isolde is enraged by the knight Tristan, whom she sees standing on the afterdeck, avoiding her: by delivering her to his uncle, he shows no regard for her feelings. She sends Brangäne to summon Tristan, who sends back courtly, evasive replies. His plainspoken companion, Kurwenal, however, tells Brangäne that Tristan is not a vassal to answer Isolde's beck and call. Embarrassed by this outburst, Tristan sends Kurwenal away, but not before the latter has intoned an insolent verse about Isolde's fiancé, Morold, whom Tristan killed in combat some time before. Sailors pick up the refrain as the crestfallen Brangäne returns to the furious Isolde, who recalls that after Tristan came to Ireland to collect taxes for King Marke and killed Morold, she herself nursed him back to health, using her mother's knowledge of herbs and magic. When she realized he was her fiancé's slayer, she bemoaned her charity — but when he looked lovingly into her eyes, she took pity on him. Now he delivers her like a chattel to his uncle.

She hurls forth a curse on his head and wishes death for both of them. Brangäne tries to tell her that it is no dishonor to marry a king and that Tristan is simply performing his duty. Isolde replies darkly that it shows his lack of love for her. When Brangäne reminds Isolde that her mother charged her with secret arts, Isolde tells Brangäne to prepare one of her mother's potions — the one that brings death. Cries from the deck that land is in sight are followed by the arrival of Kurwenal, who bids the women prepare to disembark. Isolde retorts that she will not accompany Tristan until he apologizes to her for his offenses. Kurwenal takes the message to his lord while Isolde forces Brangäne to pour the potion. Tristan appears, greeting Isolde with cool courtesy. When she announces that she wants satisfaction for Morold's death, Tristan offers her his sword, but she will not kill him. This would violate King Marke's hospitality and her own unwilling vows, she replies. Better that she and Tristan make peace with a drink of friendship. Understanding that she means to poison them both, he drinks, and she does the same. Expecting death, they exchange a long look of love instead, then fall into a passionate embrace. Brangäne admits she mixed a love potion as sailors' voices hail the ship's arrival in Cornwall.

Act I
It is the wedding day of Figaro and Susanna. Figaro, the servant of the Count, and Susanna, the maid of the Countess, are measuring the room they have received from the Count to use as their bedroom. Susanna dislikes the room, claiming that it is much too close to the rooms of the Count. She then tells Figaro that the Count has his eye on her. The Countess rings and Susanna departs. Figaro resolves that he will thwart his master's plans.

Dr. Bartolo and Marcellina enter. Figaro is in debt to Marcellina and has promised to marry her if he doesn't repay her. Bartolo rejoices in this opportunity to avenge himself on Figaro, who arranged the elopement of the Count and Rosina (the Countess), whom Bartolo had hoped to marry himself. As Bartolo exits, Susanna enters and has a brief, barbed encounter with Marcellina, who then departs.

Cherubino, the Count's page, dashes in. He explains that the Count discovered him with Barbarina, the daughter of the gardener Antonio, and he will be sent away. He states that he is in love with the Countess as well as every other woman in the palace and asks Susanna to give a song to the Countess. They hear the Count approaching, so Cherubino hides behind an armchair. The Count, thinking that he is alone with Susanna, begins making advances to her until he is interrupted by the arrival of Don Basilio, the music teacher. He conceals himself behind the same chair as Cherubino, who has now moved to the other side and covered himself with a blanket. Basilio gossips about the goings-on in the castle including Cherubino's infatuation with the Countess. The Count becomes angry and reveals himself, discovering Cherubino at the same time. Aware that the boy has overheard his own indiscretions, he vents his anger by giving Cherubino a commission in his Regiment, for which he must leave immediately.

Figaro arrives, carrying Susanna's wedding veil and accompanied by villagers who sing the Count's praises. Figaro thanks the Count for renouncing the wedding-night custom, and asks the Count to give Susanna the veil as a symbol of purity. Count Almaviva says he would prefer to postpone the ceremony until he can celebrate the occasion appropriately. After the villagers leave, both Figaro and Susanna try to persuade the Count to allow Cherubino to stay, but to no avail. Figaro then tells Cherubino about the rigors of military life.

Act II
The Countess mourns her husband's waning affections towards her. Susanna and Figaro enter and tell the Countess that the Count is trying to seduce Susanna. They devise a plan. The Count will be given a note that says that the Countess is having an affair. While the Count is investigating, Figaro and Susanna will be married quickly. At the same time, they will disguise Cherubino as Susanna and arrange a rendezvous with the Count.

Cherubino arrives and begins trying on his disguise. He sings "Voi che sapete," a love song to the Countess. His commission falls out of his uniform and the Countess notices there is no official seal on it. The Count arrives. Cherubino hides in the dressing room and Susanna hides behind a screen. The Count is suspicious, as he's just received the anonymous letter regarding the Countess' supposed infidelity. Upon hearing a noise, the Count demands to know who is hiding in the dressing room. When the Countess refuses to tell him, he compels her to accompany him to find a hammer to break down the door.

Cherubino jumps out of the window, leaving Susanna to take his place in the dressing room. The Countess tells Almaviva that it is Cherubino who is in her dressing room. The Count demands that the door be opened and Susanna calmly enters the room. The Count searches for Cherubino. Finding no one, Almaviva begs for forgiveness. Antonio, the gardener, bursts in complaining that someone has just jumped out of the window and spoiled his flowers. Susanna and the Countess try to convince the Count that Antonio is drunk again but it is Figaro who assumes the blame, saying that it was he who jumped from the window. Antonio produces some papers that Figaro claims were given him by Cherubino to have officially sealed. Marcellina enters with Dr. Bartolo and Basilio to demand justice. Figaro must marry Marcellina or repay his debt. The Count must investigate.

Act III
The Count reflects on the current situation when Susanna enters. She says she's prepared to meet him later that evening in the garden if he will give her the dowry he had promised. With the dowry, Susanna will be able to pay off Marcellina and marry Figaro. Susanna leaves and meets Figaro and assures him they will win their case. The Count overhears and becomes infuriated that his servants enjoy a happiness that he does not.

Figaro, Marcellina and Dr. Bartolo join the Count and his notary, Don Curzio, for the judgement: Figaro must marry Marcellina or repay his debt. Figaro protests that he needs the consent of his parents, from whom he was stolen as an infant. Marcellina realizes that Figaro is her long lost son by Dr. Bartolo. As Marcellina and Figaro embrace, it is decided that the wedding will be a double one; Marcellina will marry Dr. Bartolo and Figaro will marry Susanna.

Meanwhile, the Countess is still mourning the loss of her husband's affections. Susanna enters. She tells the Countess of the outcome of Figaro's case and writes a note for Almaviva to wait in the pine grove. They seal the letter with a pin.

Barbarina and the disguised Cherubino, along with other village girls, arrive with flowers for the Countess. The Count enters with Antonio, who reveals that Cherubino was indeed the one who jumped out of the balcony window into his flower bed. The Count wants to punish Cherubino but Barbarina pleads that instead, Cherubino be made her husband. After all, the Count promised her "everything she wanted" in exchange for her affections. The Count agrees.

Figaro enters and the wedding march begins. At the wedding celebration, Susanna passes the note to Almaviva who pricks his finger on the pin. Figaro notices that the Count had received a love letter and is amused by the pin prick. The Count promises splendid entertainment for the evening.

Act IV
Figaro and Marcellina happen upon Barbarina, who is searching for the pin that the Count asked her to return to Susanna. Figaro realizes that it was Susanna who sent the Count the love letter and gives Barbarina one of Marcellina's pins to find out the location of the planned tryst. Figaro complains to Marcellina about Susanna's supposed infidelity and, while Marcellina tries to explain that all is not as it seems, Figaro plans revenge. Both leave.

Barbarina returns, as she has a date with Cherubino, but is frightened by a noise and runs into one of the pavilions. Figaro returns with Bartolo and Basilio as witnesses to his wife's infidelity. Figaro tells them to hide until he gives the signal and then Figaro moves to another part of the garden, still defending the jealousy of men and determining not to trust women.

Marcellina, Susanna, and the Countess enter. Susanna and the Countess have switched clothing. Susanna, aware that Figaro is listening, sings about her approaching happiness with her lover. The Countess (now disguised as Susanna) awaits the planned tryst with the Count. However, Cherubino happens upon her and begins flirting. The Count enters and begins seducing "Susanna." The real Susanna (disguised as the Countess) is confronted by Figaro, who tells her that the Count is with his Susanna. She asks Figaro to be quiet, but forgets to disguise her voice. The truth begins to dawn on Figaro, who then pleads passionate love to the "Countess." A furious Susanna slaps Figaro who tells her that he knew she was in disguise all along. Continuing the prank, Figaro and the "Countess" loudly confess their love and the Count rushes in to catch the two lovers. Basilio, Bartolo, Don Curzio, and Antonio all rush in to investigate the ruckus and the Count denounces his faithless wife. All beg the Count to forgive his wife, but he refuses until the real Countess unveils herself. Almaviva realizes that he has fallen prey to a prank and begs forgiveness. The Countess forgives him and all celebrate the end of a crazy day.

2010 Season

* 25th Aug 2010 @ 19.00
* 28th Aug 2010 @ 19.00
* 1st Sep 2010 @19.00
* 11th Sep 2010 @ 19.00
* 19th Sep 2010 @ 19.00
* 3rd Oct 2010 @ 19.00

Act I

Totally impoverished by his gambling debts, cavalry captain Graf Waldner is living with his family in a cheap hotel. The family cannot afford to have two debutante daughters so the younger, Zdenka, is passed off as a boy by the name of Zdenko. Waldner dearly hopes to find a rich husband for Arabella, and save the family. In her distress, mother Adelaide turns to a fortune-teller to predict what the future holds. She discovers that her daughter Arabella will find a husband but he will be a stranger, and not her mother's favourite Graf Elemer. However beforehand, Arabella's sister will cause some complications. Adelaide feels obliged to reveal Zdenka's true identity to the fortune-teller.

Zdenka would like Arabella to yield to Matteo who is madly in love with her; Zdenka secretly cares for him too. Matteo appears and declares his lover's grief in confidence to his friend Zdenko. He begs for a letter from Arabella, otherwise he will have himself posted to the provinces or commit suicide. However, given the three Grafs who are constantly circling around Arabella like comets, Matteo does not stand the slightest chance with her. When she returns, she inadvertently lays aside Matteo's roses. Zdenka reproaches herself for this but Arabella is certain that he is not the right suitor. While she was out, she caught sight of a stranger, and she cannot get him out of her mind.

Graf Elemer arrives to collect Arabella for a sledge ride but Arabello wants Zdenko to accompany them. They both retire to change clothes. Graf Waldner returns from the gambling table downcast; his situation is hopeless.

The waiter tells the Graf he has a visitor. At first, Waldner refuses to see him but looking at the visiting card realises with pleasure that the visitor is his former regimental comrade Mandryka. He is an immensely wealthy landowner, and Waldner had sent him Arabella's photo, hoping that he would marry her. In place of the regimental comrade, a handsome young man appears, his nephew and heir. He has seen Arabella's photo, encountered her in the street and now wishes to ask for her hand in marriage. He offers the Graf money in case he is in need of funds at present. Overjoyed, the Graf returns to the gambling table. The sisters leave for their sledge ride.

Act II

At the Fiakerball, Waldner introduces the young Mandryka to his wife and Arabella. Arabella recognises the "stranger", the man she could not get out of her mind. She is as charmed by him as he is by her. She loves to listen to his tales about his home country, his late wife, and finally his avowal of his love. There is a custom where he comes from: the girl gives her chosen suitor a glass of water, symbolizing everlasting faithfulness. Arabella takes this up, and they vow to love and be faithful to each other.

Arabella wants time to bid farewell to her girlhood and asks Mandryka to withdraw. As Queen of the Ball, she dances for a last time with the three Grafs before leaving to return secretly to the hotel but not without writing a short love letter to Mandryka.

Zdenka hands a letter to the despairing Matteo which is supposed to hold the key to Arabella's room but really holds the key to her own room. Mandryka involuntarily overhears them and feels betrayed. He scorns Arabella's letter when his servant brings it. Angry and jealous, he throws himself into the bustling ball, flirts with Fiakermilli, and insults Adelaide when she asks after her daughter. Waldner replies by demanding a duel.

Act III

Arabella enters the hotel, to be greeted by an astonished Matteo who is coming downstairs. He thinks he has just spent time with her in a darkened room. The words they exchange leave Matteo bewildered by her apparently unfeeling dissimulation. The Graf, his wife and Mandryka arrive. The latter recognises Matteo as the man who received the key, and a violent scene ensues. Arabella does not understand what is happening around her. As the excitement reaches a climax, Zdenka runs down the stairs in a negligee and makes herself known to them: she received Matteo. Mandryka now asks for Zdenka's hand on behalf of Matteo. Everybody withdraws, either happy or pacified. Only Mandryka is left behind dejected in the hall. Then Arabella returns with a glass of water which she offers to him following the old bridal custom of his home country. He smashes the empty glass on the floor. "And now we are betrothed and joined in good times and bad, pain and forgiveness!"

Princess Salome is both beautiful and strange. She despises the men around her and those who follow her with lecherous eyes. Only the captive prophet Jokanaan exercises a fascination upon her. The holy man is young, ascetic and aloof; he is, above all, unlike anybody and anything else she has known. But after Jokanaan curses Salome and her lustful advances, she vows terrible vengeance. When her stepfather Herod wishes to see her dance, promising to fulfil any wish, she seizes her opportunity. Salome claims the head of Jokanaan, to be served on a silver platter. She kisses the corpse. Herod orders Salomes death.

ACT I.

Cesare Angelotti, an escaped political prisoner, rushes into the church of Sant Andrea della Valle to hide in the Attavanti chapel. As he vanishes, an old Sacristan shuffles in, praying at the sound of the Angelus. Mario Cavaradossi enters to work on his portrait of Mary Magdalene - inspired by the Marchesa Attavanti (Angelottis sister), whom he has seen but does not know. Taking out a miniature of the singer Floria Tosca, he compares her raven beauty with that of the blonde Magdalene (Recondita armonia). The Sacristan grumbles disapproval and leaves. Angelotti ventures out and is recognized by his friend and fellow liberal Mario, who gives him food and hurries him back into the chapel as Tosca is heard calling outside. Forever suspicious, she jealously questions him, then prays, and reminds him of their rendezvous that evening at his villa (Non la sospiri la nostra casetta?). Suddenly recognizing the Marchesa Attavanti in the painting, she explodes with renewed suspicions, but he reassures her (Qual occhio al mondo). When she has gone, Mario summons Angelotti from the chapel; a cannon signals that the police have discovered the escape, so the two flee to Marios villa. Meanwhile, the Sacristan returns with choirboys who are to sing in a Te Deum that day. Their excitement is silenced by the entrance of Baron Scarpia, chief of the secret police, in search of Angelotti. When Tosca comes back to her lover, Scarpia shows her a fan with the Attavanti crest, which he has just found. Thinking Mario faithless, Tosca tearfully vows vengeance and leaves as the church fills with worshipers. Scarpia, sending his men to follow her to Angelotti, schemes to get the diva in his power (Va, Tosca!).

ACT II.

In the Farnese Palace, Scarpia anticipates the sadistic pleasure of bending Tosca to his will (Ha pi forte sapore). The spy Spoletta arrives, not having found Angelotti; to placate the baron he brings in Mario, who is interrogated while Tosca is heard singing a cantata at a royal gala downstairs. She enters just as her lover is being taken to an adjoining room: his arrogant silence is to be broken under torture. Unnerved by Scarpias questioning and the sound of Marios screams, she reveals Angelottis hiding place. Mario is carried in; realizing what has happened, he turns on Tosca, but the officer Sciarrone rushes in to announce that Napoleon has won the Battle of Marengo, a defeat for Scarpias side. Mario shouts his defiance of tyranny (Vittoria!) and is dragged to prison. Scarpia, resuming his supper, suggests that Tosca yield herself to him in exchange for her lovers life. Fighting off his embraces, she protests her fate to God, having dedicated her life to art and love (Vissi darte). Scarpia again insists, but Spoletta interrupts: faced with capture, Angelotti has killed himself. Tosca, forced to give in or lose her lover, agrees to Scarpias proposition. The baron pretends to order a mock execution for the prisoner, after which he is to be freed; Spoletta leaves. No sooner has Scarpia written a safe-conduct for the lovers than Tosca snatches a knife from the table and kills him. Wrenching the document from his stiffening fingers and placing candles at his head and a crucifix on his chest, she slips from the room.

ACT III.

The voice of a shepherd boy is heard as church bells toll the dawn. Mario awaits execution at the Castel SantAngelo; he bribes the jailer to convey a farewell note to Tosca. Writing it, overcome with memories of love, he gives way to despair (E lucevan le stelle). Suddenly Tosca runs in, filled with the story of her recent adventures. Mario caresses the hands that committed murder for his sake (O dolci mani), and the two hail their future. As the firing squad appears, the diva coaches Mario on how to fake his death convincingly; the soldiers fire and depart. Tosca urges Mario to hurry, but when he fails to move, she discovers that Scarpias treachery has transcended the grave: the bullets were real. When Spoletta rushes in to arrest Tosca for Scarpias murder, she cries to Scarpia to meet her before God, then leaps to her death.

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The Most Excellent and Lamentable Tragedy of Romeo and Juliet, commonly referred to as Romeo and Juliet, is a play by William Shakespeare concerning the fate of two young lovers who would do anything to be together. It is, perhaps, the most famous of his plays and undoubtedly the most famous love story in Western history.

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Music: Antonín Dvoøák
Choreography: Lilla Pártay

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Parsifal, figure of Arthurian legend also known as Sir Percivale, who is in turn a later form of a hero of Celtic myth. The name originally occurs as Pryderi, an alternative name of Gwry in Pwyll Prince of Dyved, a tale in the Mabinogion. Gwry is the original of Gawain, and in the later Percivale stories Gawain appears, often fulfilling the same role as the hero.

The great feature of the Percivale cycle is the Holy Grail, and Welsh sources connect this sacred talisman with Percivale, who finds the Grail. Chrtien de Troyes is the author of the first great artistic treatment of the theme; in Chrtien's unfinished poem Percivale finds the Grail at the Fisher King's castle and heals the king. The Parzival of Wolfram von Eschenbach is one of the greatest medieval poems. Drawn largely from Chrtien, von Eschenbach's story is highly spiritualized and appears essentially in the form used by Richard Wagner in his music drama Parsifal. In the Morte d'Arthur of Sir Thomas Malory, Percivale is admitted to the Grail with Galahad and Bors.

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Act I

Scene i
A group of officers is discussing the events of the previous night. One of them, Surin, lost his money in the gaming house where Herman stood as usual observing the game, but making no bets. Herman becomes the object of his fellow officers ridicule. He is tortured by an uncontrollable, unknown passion, not a romantic feeling, but a fever that is consuming and burning him. Demons that have been sleeping till now, have awakened inside him. He doesnt know the name of his beloved, and he doesnt want to know it. Meanwhile, Prince Yeletsky arrives, a happy man because of his approaching wedding. Yeletskys fiance is Lisa, who is approaching with her guardian, the legendary Countess. As she arrives Herman realizes that she is his nameless beloved, whom the Countess has promised to the Prince. The meeting is full with vague, terrible premonitions. Lisa knows Herman but is afraid of his dark passion. The Countess is afraid of the ominous signs. Prince Yeletsky is afraid for Lisa. He loves her and promises her his tender devotion. Herman succumbs to the Countesss strange power, he believes in the doom of this meeting. One of the officers, Tomsky, recounts the gossip about the Countesss past. They used to call her The Queen of Spades and her beauty and charm were adored by all of Paris, yet the Countess preferred cards. One day in Versailles, she gambled away her entire fortune, however soon afterwards, she mysteriously managed to win it all back. It was said that it was the Count Saint-Germain who promised to divulge the secret of the three cards to her in return for a rendezvous. Subsequently the Countess revealed the secret twice: to her husband, and then to a certain young man. Rumor had it that she received a mysterious spiritual warning against a third man who would try to win the secret from her in a frenzy of passion. Perhaps, then, Herman will become her lover and thus jibe his fellow officers. But Herman is profoundly affected by the Countesss secret and as a storm breaks out and Herman vows he will snatch the secret from the Countess or die.

Scene ii
(The Countesss Home)
Despite her friends light-hearted mood, Lisa is filled with anxiety. The fortune-telling on the eve of her betrothal is ominous. An aura of death hangs over Lisa and once she is alone, she cries, letting out the pain and commits the darkness of her spirit to the blackness of the night. She doesnt love the fair prince, her heart belongs to Herman, somber as a fallen angel. And then, Herman appears. He has crept into the Countesss house and demands love and devotion from Lisa. He blackmails her with his determination and their meeting is interrupted by the Countesss return. With her appearance, Hermans terrible desire floods back. The Countess, failing to notice Herman, leads Lisa out. But the girl will return in a moment, succumbing to Herman's hypnotic power.

ACT II

Scene i
(A great masked ball)
The Countess, Prince Yeletsky with Lisa, the officers and Herman, the object of their constant ridicule attend the ball. Yeletsky assures Lisa of his love for her even though he knows he is not loved back in return. Lisa remains distant and aloof. Herman receives a letter from her in which she requests to see him after the performance that has just started - a show put on especially for her betrothal to the Prince. After the performance, Lisa gives Herman the key to her room. She is utterly devoted to him, though her love no longer means anything to Herman. The ball continues and the arrival of the Empress adds luster to the event.

Scene ii
(The Countesss empty bedroom)
Herman tensely awaits the Countess' return from the ball. His obsessive passion fills his mind completely and he wants to learn the secret - if there is one. From his hiding place he can see the intoxicated Countess, witnessing her outburst of bitterness, watching as half-asleep, she sinks into her long-gone delightful past. The Countess is falling asleep, plunged in her dreams, but Herman rouses her. First he begs then demands that she reveal her secret to him. Terrified by the intrusion, the woman dies. Lisa arrives. Realizing that Herman wants to learn the secret of the cards more than he wants her love, she is torn between conflicting emotions and eventually rejects Herman.

ACT III

Scene i
Herman is reading a letter from Lisa who is unable to throw him out of her heart. She wants to believe that the Countess death was an accident and requests a rendezvous to give him another chance to prove his innocence. But Herman knows the darkness of his soul. As the chorus sings a propitiatory psalm, the image of the dead Countess appears, mocking him and revealing the secret sequence of cards. Its the three, seven and ace.

Scene ii
Lisa awaits Herman in vain on the bridge. She knows she is damned as she has linked her fate to a murderer. But, when Herman finally arrives, she is prepared to forgive this man for everything, loving him with a mystical devotion. Herman however, rejects Lisa and runs to the gaming-house in order to gamble using the secret he has revealed. Distraught, Lisa throws herself into the river.

Scene iii
There is excitement in the gaming-house. Hermans arrival surprises and disturbs those present as for the first time Herman wants to participate in the game. Tense, he bets his whole fortune on the cards indicated by the Countess. He bets on the three and wins. He then bets on the seven and wins again. He is master of the world and master of his fate and so he bets everything on one card and nobody but Yeletsky dares to meet his challenge. They play and Herman loses. Instead of the ace, the card in his hand is the queen of spades. He curses the Countess and takes his own life, dying with Lisas name on his lips, with her image before the eyes of his soul - with her waiting for him on the other side. The choruss prayer rises above his tortured soul.

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Verdi's opera based upon the famous tragedy by William Shakespeare.

The title character, a Moor, or dark-skinned Muslim, is a general commanding the forces of Venice. The villain Iago convinces Othello that Desdemona, the general's beautiful and faithful wife, has been guilty of adultery; at the end of the play, Othello smothers Desdemona.

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Opera in four acts and three parts in Italian
Mimi Andrea Rost
Stage adaptation: Sndor Palcs
Conductor: Gergely Kesselyk
Directed by: Klmn Ndasdy

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Così fan tutte is a dramma giocoso by Wolfgang Amadeus Mozart. The libretto was written by Lorenzo da Ponte.

Written and composed at the suggestion of the Emperor Joseph II, the libretto was originally intended to be composed by Mozart's colleague Antonio Salieri who set to music only parts of the first act and then broke off his work. The first performance of Mozart's setting took place at the Burgtheater in Vienna on January 26 1790.

Mozart and Da Ponte took as a theme "fiancée swapping" which dates back to the 13th century, with notable earlier versions being those of Boccaccio's Decameron and Shakespeare's play Cymbeline. It also incorporates elements of the myth of Procris as found in Ovid.

The plot did not offend Viennese sensibilities of the time, but throughout the 19th and early 20th centuries it was considered risqué. As such, Così fell out of the operatic repertoire for many years, and when it did appear at all it was presented in one of several bowdlerized versions. After World War II, it regained its place in the standard operatic repertoire.

There are many recordings of Così, and it is frequently performed. The play Così, written by playwright Louis Nowra, features mental patients acting this opera. Many extracts from the opera were used as incidental music in the 2004 movie Closer.

The title literally means "Thus do all (women)" but is often translated as "Women are like that". The words are sung by the three male singers in Act II, Scene xi, just before the finale. Moreover, the words were earlier sung in Mozart's Le Nozze di Figaro (in Act I, Scene vii), also by da Ponte, making the title a sort of Mozartian in-joke.

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The Requiem by Giuseppe Verdi is a musical setting of the Roman Catholic funeral Mass (called the Requiem for the first word of the text, which begins Requiem aeternam dona eis, Domine, meaning, "Grant them eternal rest, O Lord" — see the entry at "Dies Irae") that was completed to mark the first anniversary of the death of Alessandro Manzoni, an Italian poet and novelist much admired by Verdi. The piece is also sometimes referred to as the Manzoni Requiem.

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Don Pasquale is a comic opera (opera buffa) in three acts by Gaetano Donizetti. At the time of its composition, Donizetti had just been appointed music director and composer for the imperial court of Emperor Ferdinand I of Austria, and Don Pasquale was the 64th of an eventual 66 operas he composed. Its libretto was adapted by Giovanni Ruffini from an older Italian opera, Ser Marc' Antonio, by Camerano. Don Pasquale was first produced at Paris's Théatre Italien in 1843, with Giulia Grisi as Norina, Giovanni Mario as Ernesto, Antonio Tamburini as Malatesta and Luigi Lablache as Don Pasquale.

The opera, in the tradition of opera buffo, harkens back to the stock characters of the commedia dell'arte. Pasquale is recognizable as the blustery Pantaleone, Ernesto as the lovesick Pierrot, Malatesta as the scheming Scapino, and Norina as a wily Columbina. The false Notary echos a long line of false officials as operatic devices.

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Die Meistersinger von Nürnberg (The Mastersingers of Nuremberg) is an opera in three acts, written and composed by Richard Wagner. It is one of the most popular operas in the repertory, and the longest still commonly performed today, usually taking around five hours. It was first performed at the Königliches Hof- und National-Theater, Munich, on June 21, 1868. The conductor at the premiere was Hans von Bülow.

The story takes place in Nuremberg during the middle of the 16th century. At the time, Nuremberg was an Imperial Free City, and one of the centers of the Renaissance in Northern Europe. The story revolves around the real-life guild of Meistersinger (Master Singers), an association of amateur poets and musicians, mostly from the middle class and often master craftsmen in their main professions.

The Meistersingers developed a craftsmanlike approach to music-making, with an intricate system of rules for composing and performing songs. The work draws much of its charm from its faithful depiction of the Nuremberg of the era and the traditions of the Meistersinger guild. One of the main characters, the cobbler-poet Hans Sachs, is based on an actual historical figure: Hans Sachs (1494 — 1576), the most famous of the historical Meistersingers. Die Meistersinger von Nürnberg occupies a unique place in Wagner's oeuvre.

It is the only comedy among his mature operas, and the only one centered on a historically well-defined time and place rather than a mythical or legendary setting. It is the only mature Wagner opera to be based on an entirely original story, devised by Wagner himself. It incorporates many of the operatic conventions that Wagner had railed against in his essays on the theory of opera: rhymed verse, arias, choruses, a ballet, and even a quintet (the celebrated Meistersinger Quintet).

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Clytemnestra and Aegisthus have slain King Agamemnon.

Clytemnestra performed the deed with a righteous conscience: her husband Agamemnon had sacrificed their daughter Iphigenia to gain success in the war against Troy.

Electra doesn’t accept the justice of this. Her only thought is to revenge the death of her father Agamemnon. So she, who has separated herself from the entire community, keeps the thought of the deed and of vengeance alive for all.

Life shall not go on until the murder is expiated and Agamemnon honorably buried by his and Clytemnestra’s children – Electra, Chrysothemis and Orestes. But Chrysothemis demands that she lives now, be a woman, and have children.

Electra waits for Orestes’ return. As rightful heir and thus a danger for the new rulers, he was sent abroad after the murder.

Rigid ritual dominates the events: Electra invokes her dead father, while Clytemnestra tries to find her peace in sacrifices and streams of blood. But Electra says the proper sacrifice can only be the mother herself.

Clytemnestra sighs with relief at the news of Orestes’ death. His threat to her life and rule seems overcome. But the report is false. When Electra decides to avenge Agamemnon by herself, since Chrysothemis cannot be swayed to help, Orestes appears. He carries out the task, killing Clytemnestra and Aegisthus and assuming the throne, laden with new guilt.

Electra, who has devoted her life to revenge, has become superfluous. She wasn’t even able to give Orestes the axe she long kept to perform the deed. Her destiny can only be silence and dancing. Burned out, she collapses.

La traviata (The Fallen Woman) is an opera in three acts by Giuseppe Verdi, with libretto by Francesco Maria Piave.

The well known tragic love story between the high-class coutesan Violetta and Alfredo, son of a respected Parisian family.

With Alfredo the beautiful high-class courtesan Violetta finally finds true love. After a brief spell of happiness enjoyed together Alfredo's father manages, nevertheless, to convince Violetta of the social damage this relationship causes his family.