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Sonya Yoncheva © Kristian Schuller - Sony Music Entertainment

Bellini Norma

From 30 May TO 10 June 2024
Nationaltheater - München

Bellini : Norma

  • Conductor
    Gianluca Capuano
  • Director
    Jürgen Rose
  • Performers
    Norma: Sonya Yoncheva
    Pollione: Joseph Calleja
    Adalgisa: Tara Erraught
    Oroveso: Roberto Tagliavini

Attend to this performance within a complete Music Trip to Munich

More information and QUOTATION request below: 

For Munich Bayerische Staatsoper performances, we only offer PACKAGES : OPERA TICKET + HOTEL.

Contact us to as a quotation HERE

  • Venue Info
  • Seating Plan
  • Synopsis

Nationaltheater - München Location Max-Joseph-Platz 2 - 80539 München Allemagne

  • Venue's Capacity: 2100

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.


The seating plan is given as an indication and has no contractual value.
The division of categories may differ depending on shows and dates.



See this Opera in Streaming

The opera from the famous Italian composer Vincenzo Bellini with libretto by Felice Romani, is quite rightly regarded as one of the best loved tragedies of the classical world.
First performed at Milan's La Scala in 1831, it was brought to an even wider European audience by the composer and director Richard Wagner.
Famous for one of the most demanding title roles in the whole history of opera, the piece is often seen as a career making production for the greatest vocalists in the whole of opera.


The story is set in ancient Gaul around 50 BC and tells of the struggles of the ancient druids and the newly invading Roman forces. The opera focuses on the troubled love triangle between the title character, the Roman consul father of her children Pollione and his new paramour Adalgisa.
The story brings forth the tensions of romantic pain and tragedy and features emotional content of stirring beauty. Making use of just two acts instead of the more common three, the opera is a stunning testament to timeless themes of tragedy and confusion.

Act 1

In the grove of the druids the chief Oriviso leads his followers to pray for victory in the conflict with the Romans. The secret father of the central character's children, Pollione appears with his companion Flavio. Pollione tells her that he no longer loves her, and has instead fallen for the priestess Adalgisa. Anger and resentment fill the stage before Pollione reappears alongside Adalgisa and begs her to leave Gaul with him for his home city of Rome. Later Adalgisa tells Norma of her love for Pollione. The heroine cries a bitter song of betrayal.

Act 2

The title character considers killing her children as recompense for their father's betrayal, but it is held back by a pure love for them. Instead she asks Adalgisa to take them to Rome with their father. Adalgisa however, renounces her feelings for Pollione and pleads with him to stay in Gaul. She fails in this attempt however, and soon the call to war is issued by the druids. Around this time Pollione is captured, having entered the druid's temple in an effort to kidnap Adalsisa. Unable to stand the thought of being a witness to his sacrifice, Norma instead offers herself. Naming herself as the perfect sacrificial victim - as a high-priestess who has broken her vows - she leaps into the temple flames. Pollione, realising his love for her once more, follows her and also jumps into the fire.


Norma, daughter of Oroveso, High-priestess of the Druids, soprano
Adalgisa, priestess in the grove of the Irminsul statue, soprano/mezzo soprano
Pollione, Roman proconsul in Gaul, tenor
Oroveso, chief of the Druids, bass
Clotilde, druid friend, soprano
Flavio, Pollione's companion, tenor

Munich photo © Wiilfried Hösl

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