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Your tickets for the 2018 season of Munich's Opera House


Not to be missed in February : What does the Bayerische Staatsoper have in stock for us in February? Beautiful shows, very beautiful even with the splendid Wagnerian Nina Stemme with Siegfried and Götterdämmerung directed by Kirill Petrenko. Clémentine Margaine is Donizetti's La Favorite opposite Ludovic Tézier. Bryan Hymel is stirred by Elina Garanca's Carmen, while Anja Harteros has an unspeakable passion for Verdi's Un Ballo in Maschera. The dance is also passionate with Onegin or the immortal Romeo and Juliet by John Cranko. Munich always offers the most beautiful artists!


SEASON 2017-2018:

When one approaches the new season of an institution like the Bayerische Staatsoper, one expects everything and especially the best. It is therefore with a certain excitement that we discover the new opera productions for this season 2017-2018. We must remember that the Munich opera is currently known as the best opera house in the world. The biggest voices of the lyrical repertoire are to be seen throughout the season in productions of renown stage directors.


The first strong impression is the superb baritone Christian Gerhaher in the role of the Count of Almaviva of the Nozze di Figaro by Mozart. Followed by Il Trittico by Puccini, magnificent opera defended by a 5-star distribution, Eva-Maria Westbroek, Ermonela Jaho, Ambrogio Maestri and conducted by Kirill Petrenko. We then continue with Verdi's Sicilian Vespers in a stunning French version of great luxury with Bryan Hymel and Erwin Schrott, among others.


The big event of the international lyric season is Wagner's Parsifal, under the refined direction of Kirill Petrenko and embodied by Jonas Kaufmann. But that's not all! The biggest bass voice, René Pape, not only joins one of today´s most sublime baritones Christian Gerhaher but also the leading Wagner performers, Nina Stemme.


The three cycles of the Wagner Ring, another great event of the 2017-2018 season, are also directed by Petrenko with again Nina Stemme in Brünnhilde and an ad hoc distribution (Stefan Vinke, Wolfgang Koch, Anja Kampe, etc.).


So far for the new productions, however the repetitions also reserve their slice of surprise and excellence. The exceptional Jonas Kaufmann and his sublime partner Anja Harteros are at home in Munich. Both are on display with Andréa Chenier by Giordano. The soprano embodies golden roles: Tosca (with Joseph Calleja), Strauss's Arabella, Amelia in Un ballo in Maschera by Verdi, while Jonas Kaufmann, besides Parsifal and Chénier, returns to the Bayerische Staatsoper to play Siegmund in Walküre.


Following, some real fireworks that can only delight lovers of beautiful voices. Anita Rachvelishvili and Elina Garanca are Carmen, Anna Netrebko plays Tosca, Simon Keenlyside, Macbeth, Diana Damrau, Traviata and Lucia di Lammermoor of Donizetti with Piotr Beczala and Ludovic Tézier. Juan Diego Flórez sings Edgardo in a second cast and equally offers an amazing show with Edita Gruberova in Lucrezia Borgia. A beautiful distribution also to be noted in Il Turco in Italia with Olga Peretyatko, Ildebrando D'Arcangelo and Alessandro Corbelli. The 2017-2018 season lives up to the reputation of one of the largest opera houses in the world.

Book Concert, Opera and Dance Tickets for Nationaltheater

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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.