From €140

1 Click on the date to see the prices and book


2Choose the Category

Please precise your seating wishes regarding your ticket booking
(150 char. max)

Need help to book your ticket ?

Your tickets will be sent by post. If the delay is too short, you will get a voucher by email to exchange at the theater.


Music & Opera book the best seats available. the exact location of your seats (with numbers) will be confirmed by email, except for the free seating’s performances. only seats next to each other are reserved.


Music Opera ticket price differs from the ticket face value. It includes all service fees and taxes.

Refund Protection

A Refund Insurance will be offered before payment More Information

The club
Music & Opera

Join the Club to
Benefit from the special prices
Already Member of the Club,
Please Login !

Hänsel und Gretel © Bayerischen Staatsoper

Humperdinck Hänsel und Gretel

From 11 December TO 14 December 2020
Nationaltheater - München

Humperdinck : Hänsel und Gretel

2h 20mn
  • Conductor
    Friedrich Haider
  • Director
    Richard Jones
  • Performers
    Hänsel: Tara Erraught
    Gretel: Maureen McKay
    Die Knusperhexe: Wolfgang Ablinger-Sperrhacke
    Vater Peter: Milan Siljanov
    Mutter Gertrud: Rosie Aldridge
    Sandmännchen: Daria Proszek
    Taumännchen: Sarah Gilford

Spatenhaus an der Oper

Residenzstraße 12

80333 München


This offer includes a ticket in the category chosen with a dinner at the Spatenhaus an der Oper after the performance.

« Dish + Dessert » Drinks not included

Fish, Meat or Vegan plate, thanks to confirm during your booking.

Open daily from 11:30 am to 00:30am


The Spatenhaus an der Oper embodies Bavarian cuisine in its most refined form . Beautifully situated right opposite the Bavarian State Opera is celebrated in the traditional Munich Haus at great expense a fine Bavarian cuisine.

  • 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.


Hänsel und Gretel


The darkly humorous opera of Haensel et graetel from the German composer Engelbert Humperdinck explores the famous folk tale from an operatic perspective.
The libetto was written by his sister, Adelheid Wett, and brought the folk story into the opera houses of Europe, and later the whole world.

First performed on 23 December 1893, the opera is closely associated with the Christmas period although its influence can be experienced throughout the year. Various interpretations of the work have been produced, with live recordings, film adaptations and new versions bringing the work to a fresh generation of audiences.


Haensel et graetel is set in the central Germanic forests and woodland of medieval times. The opera is based on the Grimm Brothers' famous fairy tale that addresses eternal issues of innocence and perceptions of danger and evil.

Concerning the eponymous young brother and sister as they attempt to thwart the cannibalistic desires of a forest witch, the opera shares the scope of many fairy tales in presenting dark psychological concepts within a more light hearted mood and setting.

Act 1

The scenes in the opening act set up the central dangers for Hansel and Gretel, the brother and sister of the title. When their mother Gertrud discovers that they have been dancing instead of doing housework, she send them off to the forest to look for strawberries. When their father discovers where his wife has sent them he is shocked - the forest is the home of the Gingerbread Witch.
Both he and his wife immediately set off to search for their children.

Act 2

The second act explores the confusion and fear of Hansel and Gretel as they set off on their task to collect strawberries.
Filling up their baskets, Hansel and Gretel eventually squabble over the fruit and end up eating or losing them all. As night falls, they are approached by the Sandman, who puts them to sleep with magic sand in their eyes. As they sleep, fourteen angels come down from Heaven to protect them in their slumber.

Act 3

The brother and sister wake up in the forest to the magic dew sprinkling of the dew fairy. As they come around, they notice a wonderful gingerbread house decorated with all kinds of sweets and chocolate. Unable to resist, they begin taking small pieces of the house to nibble on.
The Gingerbread Witch comes out of her house and catches Hansel. Through sheer wit Gretel manages to delay the witches's plans to turn them into gingerbread. She and her brother carefully fool the witch and trap her in the exploding gingerbread oven.
All of the gingerbread children are turned back into real children and Hansel and Gretel return home with their eventually arriving father Peter.


Hansel, a boy, mezzo-soprano
Gretel, a girl, soprano
The Gingerbread Witch, mezzo-soprano
Peter, broom-maker, baritone
Gertrud, his wife, mezzo-soprano
Sandman, the Sleep Fairy, soprano

© Bayerischen Staatsoper

You may also be interested by …