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Selene Zanetti

Smetana The Bartered Bride

From 10 January TO 18 January 2020
Nationaltheater - München
Program

Smetana : The Bartered Bride

2 h 50
Cast
  • Conductor
    Tomas Hanus
  • Director
    David Bösch
  • Performers
    Marenka: Selene Zanetti
    Vasek: Wolfgang Ablinger-Sperrhacke
    Kezal: Günther Groissböck
    Mícha: Krzysztof Klorek
    Ludmilla: Helena Zubanovich
Details on the Performance

The story from Smetana's successful opera The Bartered Bride of 1866 evolved into a hit around the globe via something of a detour – it is not the Czech original that made it into the repertoire, but rather and in particular the German translation by Max Kalbeck, which has the right popular song qualities. And the interplay between seriousness and comedy is as if made for director David Bösch

offre M&O

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

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

  • Venue's Capacity: 2100

The Venue's History in few words …

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.

Nationaltheater

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

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