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Consultez le programme de la saison 2018-2019 de l'Opéra de Zürich et réservez vos billets dès maintenant.
 

Saison 2018-2019 :

L’Opéra de Zurich est non seulement un théâtre charmant de taille humaine mais il possède une acoustique idéale pour accueillir tous les répertoires d’opéra. Depuis fort longtemps, la salle se place parmi les meilleures du monde grâce à des productions audacieuses et réussies, toujours servies par des distributions exceptionnelles.

 

Faut-il rappeler que Cecilia Bartoli a élu domicile ici et qu’elle offre chaque saison une apparition dont elle a le secret ? Cette saison 2018-2019, il faut réserver ses places d’opéra dès que possible car la reprise de Semele de Haendel est un événement. La géniale production de Robert Carsen avec Frédéric Antoun dans le rôle de Jupiter est dirigée par une des plus grandes figures du baroque, William Christie.

 

La grande Cecilia Bartoli est également à l’affiche pour des airs d’opéra de Haendel, Mozart et Rossini. Les stars du chant lyrique se suivent sur la scène de l’Opéra de Zurich. Bryn Terfel est également devenu un habitué des lieux et vient cette saison 2018-2019 dans une nouvelle production de la comédie musicale Sweeney Todd de Sondheim, rôle dans lequel il excelle. Le directeur de la salle Andreas Homoki en signe lui-même la mise en scène.

 

Parmi les nouveaux spectacles à l’affiche, Fabio Luisi le Directeur Musical de l’opéra de Zurich a quant à lui choisi de diriger Hänsel und Gretel de Humperdinck mis en scène par Robert Carsen, Nabucco de Verdi où il dispose d’une distribution parfaite (Michael Volle, Catherine Naglestad, Veronica Simeoni, Benjamin Bernheim) avec la mise en scène d’Andreas Homoki et enfin Le Grand Macabre. L’opéra apocalyptique de Ligeti est mis en scène par Tatjana Gürbaca a qui l’on doit le Werther Juan Diego Flórez a connu un grand succès. Un autre chef-d’œuvre de Massenet est à l’affiche, Manon qui bénéficie de nouveau d’une affiche exceptionnelle. La jeune et très talentueuse Elsa Dreisig y tient le rôle de la courtisane qui devrait compter dans sa carrière face à Piotr Beczala qui s’affirme de plus en plus dans le répertoire français.

 

Autre chef-d’œuvre, baroque celui-ci, Hippolyte et Aricie de Rameau bénéficie d’une distribution de rêve. Cyrille Dubois, Mélissa Petit, Stéphanie d’Oustrac et Jean-François Lapointe sont un idéal et cette nouvelle production sans nul doute, l’un des grands temps forts de la saison baroque 2018-2019. Autre production baroque, La Verità in cimento de Vivaldi permet à Ottavio Dantone de réunir une distribution cinq étoiles avec Richard Croft, Christophe Dumaux, Delphine Galou et la formidable Julie Fuchs. La soprano qui vient de remporter un triomphe dans le Comte Ory chante de nouveau Rossini avec Il turco in Italia où elle a comme partenaires, Nahuel Di Pierro, Edgardo Rocha ou Pietro Spagnoli.

 

La même exigence est apportée aux reprises. Par exemple, dans le chef-d’œuvre de Strauss Der Rosenkavalier, l’on retrouve Krassimira Stoyanova et Sabine Devieilhe pour sa toute première Sophie à la scène. Le precieux ténor Michael Spyres aborde un rôle important avec Pollione dans Norma de Bellini dirigé par Fabio Luisi dans la mise en scène de Robert Wilson avec Maria Agresta. Enfin trois des plus grandes sopranos mondiales sont à l’opéra de Zurich cette saison 2018-2019 pour incarner un grand rôle. Diana Damrau est Lucia di Lammermoor, Evelyn Herlitzius à tout jamais l’Elektra de Strauss R. et Anja Harteros, la Leonora de La forza del destino de Verdi.

 

Outre les concerts et la danse (avec Christian Spuck, Jirí Kylián, León & Lightfoot, Patrice Bart…) qui tiennent une grande et noble place dans le programme de l’opéra de Zurich, une version de concert retient tout particulièrement l’attention. Pretty Yende et Lawrence Brownlee sont à l’affiche de La Sonnambula de Bellini. Un grand luxe, seulement à l’Opernhaus Zürich où il faut vite réserver ses places d’opéra.

 

C'est le moment des réserver vos billets les spectacles de la saison de l'Opernhaus de Zurich !

Réservez des Concerts, Opéras, Ballets : Opernhaus

 | 5 Résultats
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    Opernhaus
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    Die Gezeichneten Schreker


    Opernhaus Zürich, Suisse

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    De 52€ à 287€ Infos & billets
  • Concert
    Opernhaus
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    Song Recital


    Opernhaus Zürich, Suisse

  • Opéra
    Opernhaus
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    La Verità in cimento Vivaldi


    Opernhaus Zürich, Suisse

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    De 52€ à 266€ Infos & billets
  • Opéra
    Macbeth
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    Macbeth Verdi


    Opernhaus Zürich, Suisse

    Moins de detail Voir plus

    De 52€ à 266€ Infos & billets
  • Opéra
    Opernhaus
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    La Bohème Puccini


    Opernhaus Zürich, Suisse

    De 52€ à 266€ Infos & billets

Informations sur Opernhaus

Merveilleux théâtre à taille humaine, l’opéra de Zürich s’est hissé en haut du classement des meilleurs salles en Europe. D’une exceptionnelle qualité artistique, chaque saison impressionne avec les plus grands artistes toujours à l’affiche.

 

Il aura fallu attendre l'année 1834 pour que la ville de Zurich se dote d'un Opéra. En ces terres de Réforme, l'idée même de spectacle lyrique est longtemps restée suspecte, à tel point que, les premières années, le choix du répertoire était surveillé par la police. De plus, la ville ne possédait pas d'orchestre professionnel à l'époque, et il faudra donc attendre la venue du bouillonnant Wagner, en 1849, pour que la vie musicale zurichoise s'anime réellement.

 

L'édifice que nous connaissons actuellement n'a été construit qu'en 1891, après l'incendie qui avait détruit le précédent. Les architectes Fellner et Helmer utilisèrent un projet qu'ils réservaient à l'origine pour Cracovie, et bâtirent une salle de 1 100 places, de style néo-baroque, qui pouvait servir aussi bien pour le théâtre que pour l'opéra. C'est ici qu'un Wilhelm Furtwdngler de 21 ans sera engagé comme chef de chœurs et que PARSIFAL sera donné pour la première fois hors de Bayreuth, en 1913. Richard Strauss vient y diriger pendant la Première Guerre Mondiale, mais Zurich se distinguera particulièrement après 1933, en accueillant de nombreux artistes exilés d'Allemagne. Berg viendra y créer sa LULU, et Hindemith MATHIS DER MALER, tandis que Hans Swarowsky, qui a étudié auprès de Schônberg et Webern, sera nommé directeur musical en 1937. Poursuivant cette tradition, Hans Rosbaud (à qui Boulez a dédié son MARTEAU SANS MASTRE) fera de l'Opéra de Zurich un des hauts lieux de la création lyrique entre 1955 et 1958, et donnera notamment la première scénique du MOÏSE ET AARON de Schônberg.

 

La création y tient encore de nos jours une place déterminante, mais, sous la direction de Claus Helmut Drese, intendant de 1975 à 1986, d'autres sortes d'audaces sont proposées au public au cours d'un cycle Monteverdi réalisé sous la direction révolutionnaire de Nikolaus Harnoncourt et mis en scène par Jean-Pierre Ponnelle. Ces spectacles enregistrés sur disques et en vidéo, présentés à Hambourg, Vienne, Edimbourg, Berlin, Munich, Wiesbaden, et jusqu'à la Scala, ont définitivement marqué la réputation internationale de la maison. Un cycle Mozart est d'ailleurs commencé peu après avec la même équipe. Depuis, Harnoncourt est venu diriger d'autres compositeurs (Beethoven, Weber...), tandis que le jeune chef autrichien Franz Welser-Môst a été nommé directeur musical en 1995. Actuellement, cette scène où viennent se produire les plus grandes voix possède le mode de gestion des institutions suisses : les décisions importantes, comme la rénovation de 1982 ou la récente "cantonalisation", y sont soumises au vote populaire.