Your Tickets around the World
Filter by:





0€ - 0€

Find the complete 2018-2019 Nationaltheater Season and book your tickets online now.

Not to be missed in June 2019:

In June at the Bayerische Staatsoper in Munich, before the launch of the Munich Opernfestspiele 2019 (June 17), superb productions are to be noticed as Lucia di Lammermoor of Donizetti with Diana Damrau and Javier Camarena. Another perfect vocal duo, Dorothea Röschmann and Charles Castronovo are on display with Alceste by Gluck led by the exceptional Sidi Larbi Cherkaoui. The Opernfestspiele then offers the best of the season with a magnificent Bohème by Puccini, Sonya Yoncheva's Norma and La Traviata by Ailyn Pérez, Atalla Ayan and Plácido Domingo, but especially Strauss's Salome incarnated by the luminous Marlis Petersen, who possesses the ideal voice for the role.





All music lovers agree that the Bayerische Staatsoper (Munich Opera) is by far the best. Here you will find the greatest lyrical artists and much acclaimed directors that are frequently talked about. Apprehending the new season is always with real excitement. The flip side of the coin is probably the number of productions that quickly sold out.


We cannot say this enough, but you must reserve your tickets as soon as possible to be sure to attend a performance at the Munich Opera. Jonas Kaufmann is a regular visitor. This season 2018-2019, he is on display with three major operas evidencing, if necessary, the immensity of his talent. In Verdi's Otello, Florestan of Beethoven's Fidelio, or Wagner's Die Meistersinger von Nürnberg, accompanied by the great conductor Kirill Petrenko, whom by himself already would be worth the trip to Munich. The future conductor of the Berliner Philharmoniker is one of the finest and his sense of theater is wonderful for every production.


This season 2018-2019, he also directs Wagner's Parsifal with the extraordinary Nina Stemme and Salome by Richard Strauss, a golden role for the vibrant soprano Marlis Petersen. In Otello, another soprano superstar is playing. For years Anja Harteros has been enchanting her fans who know that the Bayerische Staatsoper is her home. Unforgettable Maddalena in Andrea Chénier by Giordano, she once again takes on this moving role this season with Arabella by Richard Strauss and Tosca by Puccini.


The list of great artists performing major roles is impressive. One can mention Sonya Yoncheva in Norma with Joseph Calleja who also appears in Don José alongside the incandescent Carmen of Gaëlle Arquez. Sondra Radvanovsky shares the role of Elisabetta in Roberto Devereux of Donizetti with Edita Gruberova. Diana Damarau is Lucia di Lammermoor, Sally Matthews, Jenufa. Ludovic Tézier plays the Count in the Nozze di Figaro, but also Wolfram in Tannhaüser, while Bryn Terfel stars in the Der fliegende Holländer.


We should mention so many other great artists such as Ermonela Jaho, Anna Pirozzi, Ailyn Perez, Krasimira Stoyanova, Eva-Maria Westbroek, Christian Gerhaher, Simon Keenlyside, Gerald Finley, Klaus Florian Vogt and Ambrogio Maestri ... and remember that Jonas Kaufmann sings three roles at the Munich Opera and nowhere else! But what builds the strength of an opera like the Bayerische Staatsoper Munich is the relevance of its repertoire with each time, the appropriate distribution.


Among the new productions at the Prinzregententheater, Ivor Bolton leads Haendel's Agrippina with Alice Coote and Franco Fagioli. The great choreographer Sidi Larbi Cherkaoui is invited to give life to Alceste Gluck with Dorothea Röschmann and Charles Castronovo. Karl V, Ernst Krenek's dodecaphonic opera is on display as a tribute to one of the important composers of the twentieth century. Dance and concerts with Zubin Mehta, Patricia Kopachinskaja, Truls Mørk and Frank Peter Zimmermann are also worthy of mention ... The Bayerisches Staatsballett reserves an important space to classical works such as Raymonda, Jewels or Nutcracker, but equally more contemporary works like this evening dedicated to Wayne McGregor. The big names of the ballet also present in Munich like Marius Petipa, George Balanchine, Jiri Kylian, Christopher Wheeldon, John Cranko or John Neumeier.


The season of the Bayerische Staatsoper Munich is once again outstanding and especially in 2018-2019 because the institution celebrates its 100th anniversary and the Nationaltheater, its 200 years!

Book Concert, Opera and Dance Tickets for Nationaltheater

 | 3 Results

Informations sur Nationaltheater

The history of Munich's actual theatre truly only begins at the end of the eighteenth century. Indeed, after over a century of infatuation for Italian opera, which was manifest in the construction of the Théâtre de la Cour (now called the Théâtre Cuvilliês, still active), local inhabitants began to feel the need for a German lyrical art. German repertoire, as Mozart appealed for, active in Munich especially during the premiere of his IDOMENEO, but also, a German theatre, since the Theatre de la Cour was limited to Italian art. The Napoleonic wars and King Maximilien I's sudden passion for the Odéon Theatre in Paris postponed this project.


The public thus waited until 1818 to discover its « National Theatre, » a subtle and luxurious synthesis of various styles: loggias in the Italian tradition cohabited with innovations from the French school of architecture. One of the noveltieswas a reservoir of water destined to be used in case of fire, but which nevertheless did not save the buildîng from flames in January 1823 ; the water was frozen! The Opera was reconstructed, financed by a special tax on beer: perhaps an original means but one yielding a particularly high return! After these rather tumultuous beginnings, the National Theatre reopened in 1825 and became the hotbed of German lyrical art. Four of Wagner's operas were premiered there between 1365 and 1870 (TRISTAN UND ISOLDE, Da MEISTERSINGER, DAS RHEINGOLD, and DIE WALKÜRE).


Wagner, of course, but also Mozart and Richard Strauss soon became the pillars of the Theatre's repertoire during the first half of the twentieth century, thanks to the talent of conductors such as Bruno Walter, Hans Knappertsbusch, and... Richard Strauss, himself a native of Munich. Strauss saw two of his operas premiered in his home town: FRIEDENSTAG (Peace Day, 1938!), and CAPRICCIO (1942). The libretto of the latter was elaborated with the help of the conductor Clemens Krauss, who was then Director of the Opera. The fact that the building was destroyed during the war did not prevent the company's tradition from being perpetuated.


Between 1952 and 1967, the institution was directed by Rudolf Hartmann, a former assistant to Richard Strauss and Clemens Krauss. The former 1818 edifice was reconstructed in 1963, after much hesitation as to whether or not to erect a modern hall. The long reign (1971-1992) of conductor Wolfgang Sawallisch, a distinguished representative of the tradition composed of rigour and commitment, is an example of the perserverance with which the Bayerische Staatsoper comes to terms with the legacy of its brilliant past.