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Consultez le programme de la saison 2018-2019 du Nationaltheater et réservez vos billets.

Les billets sont mis en vente 2 mois jour pour jour avant la date de la représentation.

 

A ne pas manquer en Octobre 2018:

Au mois d’octobre au Bayerische Staatsoper de Munich, le ballet est à l’honneur avec trois superbes productions :

Anna Karenina de Christian Spuck, les célèbres Jewels de George Balanchine et la Raymonda historique de Marius Petipa. Kristina Mkhitaryan est la revelation d’Opéralia 2017 à découvrir dans Traviata aux côtés de Pavol Breslik et l’incroyable Leo Nucci. Octobre est le mois Verdi avec également Trovatore (avec Krassimira Stoyanova, l’une des grandes verdiennes actuelles) et Rigoletto (avec le magnifique Simon Keenlyside).

 

Saison 2018-2019 :

Tous les mélomanes s’accordent à dire que le Bayerische Staatsoper (l’opéra de Munich) est de loin le meilleur. Les plus grands artistes lyriques s’y retrouvent avec des metteurs en scène dont on parle beaucoup. Appréhender la nouvelle saison se fait toujours avec une réelle excitation. Le revers de la médaille est sans doute le nombre de productions qui affichent complet rapidement.

 

On ne le dira jamais assez mais il faut réserver ses places de spectacle dès que possible pour être sûr d’assister à une représentation à l’Opéra de Munich. Jonas Kaufmann est un habitué des lieux. Cette saison 2018-2019, il est à l’affiche de trois opéras majeurs ce qui prouve, s’il le fallait encore, l’immensité de son talent. En Otello de Verdi, Florestan du Fidelio de Beethoven ou comme Maître chanteur (Die Meistersinger von Nürnberg) de Wagner, il retrouve l’immense chef d’orchestre Kirill Petrenko qui également, vaudrait à lui seul le voyage à Munich. Le futur chef du Berliner Philharmoniker est l’un des plus raffinés et son sens du théâtre fait merveille à chaque production.

 

Cette saison 2018-2019, il dirige aussi le Parsifal de Wagner avec l’extraordinaire Nina Stemme et Salome de Richard Strauss, un rôle en or pour la bluffante soprano Marlis Petersen. Dans Otello, une autre superstar des sopranos est à l’affiche. Anja Harteros enflamme depuis longtemps les passionnés qui savent que le Bayerische Staatsoper est sa maison. Inoubliable Maddalena dans Andrea Chénier de Giordano, elle endosse une nouvelle fois ce rôle si émouvant cette saison avec Arabella de Richard Strauss et Tosca de Puccini.

 

La liste des grands artistes interprétant des rôles majeurs est impressionnante. L’on peut citer Sonya Yoncheva en Norma avec Joseph Calleja qui apparaît aussi en Don José aux côtés de la Carmen incandescente de Gaëlle Arquez. Sondra Radvanovsky partage le rôle d’Elisabetta dans Roberto Devereux de Donizetti avec Edita Gruberova. Diana Damarau est Lucia di Lammermoor, Sally Matthews, Jenufa. Ludovic Tézier incarne le Comte dans les Nozze di Figaro mais également Wolfram dans Tannhaüser tandis que Bryn Terfel est à l’affiche du Vaisseau fantôme (Der fliegende Holländer).

 

Il faudrait citer tant d’autres grands artistes comme Ermonela Jaho, Anna Pirozzi, Ailyn Pérez, Krassimira Stoyanova, Eva-Maria Westbroek, Christian Gerhaher, Simon Keenlyside, Gerald Finley, Klaus Florian Vogt, Ambrogio Maestri… et rappeler que Jonas Kaufmann chante trois rôles à l’opéra de Munich et nulle part ailleurs ! Mais ce qui fait la force d’un opéra comme le Bayerische Staatsoper de Munich, c’est la pertinence de son répertoire avec à chaque fois, la distribution qui convient.

 

Parmi les nouvelles productions, au Prinzregententheater, Ivor Bolton dirige Agrippina de Haendel avec Alice Coote et Franco Fagioli. Le grand chorégraphe Sidi Larbi Cherkaoui est invité à donner vie à l’Alceste de Gluck avec Dorothea Röschmann et Charles Castronovo. Karl V, l'opéra dodécaphonique d’Ernst Krenek est à l’affiche comme un hommage à l’un des compositeurs importants du XXe siècle.

 

Il convient également d’évoquer la danse et les concerts avec Zubin Mehta, Patricia Kopatchinskaja, Truls Mørk, Frank Peter Zimmermann... Le Bayerisches Staatsballett accorde une grande place aux œuvres classiques comme Raymonda, Jewels ou Casse-noisette mais plus contemporaines comme cette soirée consacrée à Wayne McGregor. Les grands noms du ballet sont eux aussi à Munich comme Marius Petipa, George Balanchine, Jirí Kylián, Christopher Wheeldon, John Cranko ou John Neumeier.

 

La saison du Bayerische Staatsoper de Munich s’annonce une nouvelle fois comme exceptionnelle et tout particulièrement en 2018-2019 car l’institution fête son 100ème anniversaire et le Nationaltheater, ses 200 ans !

Réservez des Concerts, Opéras, Ballets : Nationaltheater

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    Nationaltheater
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    Abrahamsen Drei Märchenbilder (WP) / Strauss R. Horn Concerto No. 2 / Beethoven Symphony No. 7


    Nationaltheater München, Allemagne

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    De 84€ à 116€ Infos & billets
  • Opéra
    Nationaltheater
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    Le Nozze di Figaro Mozart


    Nationaltheater München, Allemagne

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    De 154€ à 214€ Infos & billets
  • Opéra
    Die Meistersinger von Nürnberg © DR Nationaltheater
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Nationaltheater [city] => München [country_name] => Allemagne [id_category_assoc] => 953 [address1] => Max-Joseph-Platz 2 [address2] => [postcode] => 80539 ))[prices] => Array ( [max] => 253 [min] => 187 )[is_promo] => [is_package] => [club] => Array ( [max] => [min] => )[type_representation] => Array ( [id] => 1 [name] => Opéra )[date_list] => Array ( [0] => Array ( [name] => Sun [date] => 23.09.18 [date_compare] => 2018/09/23 [date_en] => 09.23.2018 [date_db] => 2018-09-23 16:00:00 )[1] => Array ( [name] => Sun [date] => 30.09.18 [date_compare] => 2018/09/30 [date_en] => 09.30.2018 [date_db] => 2018-09-30 15:00:00 ))[picto] => [productImg] => Array ( [url] => /img/persons/38589-home.jpg [alt] => Vogt )[typeBillet] => Array ( [0] => Array ( [meta_keywords] => par courrier ou voucher si délai trop court ))) 1

    Die Meistersinger von Nürnberg Wagner


    Nationaltheater München, Allemagne

    Moins de detail Voir plus

    De 187€ à 253€ Infos & billets
  • Concert
    Gerhaher
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    Schubert Schwanengesang


    Nationaltheater München, Allemagne

    De 71€ à 93€ Infos & billets

Informations sur Nationaltheater

L’histoire de la salle actuelle ne commence véritablement qu'à la fin du XVIIIème siècle. En effet, après plus d'un siècle d'engouement pour l'opéra italien qui s'était concrétisé par la construction du Théâtre de la Cour (l'actuel Théâtre Cuvilliês encore en activité), les esprits commencent à ressentir le besoin d'un art lyrique allemand. D'un répertoire allemand, comme le plaide Mozart, fort actif à Munich notamment lors de la création de son IDOMENEO, mais aussi d'un théâtre allemand, puisque le Théâtre de la Cour est réservé à l'art italien. Les guerres napoléoniennes et la soudaine passion du roi Maximilien 1er pour le Théâtre de l'Odéon à Paris retarderont cependant le projet.

 

Il faudra donc attendre 1818 pour que le public puisse enfin découvrir ce « Théâtre National », subtile et luxueuse synthèse de styles divers : les loges de la tradition italienne y cohabitent avec les innovations de l'école architecturale française. Parmi les nouveautés figurait un réservoir d'eau destiné à servir en cas d'incendie, qui ne put cependant sauver le bâtiment des flammes en janvier 1823 : l'eau était gelée. L'Opéra est donc reconstruit, à l'aide d'une taxe sur la bière, un financement original mais d'un rendement particulièrement efficace. Après ces commencements pour le moins difficiles, le Théâtre National rouvre en 1825, et devient le foyer de l'art lyrique allemand, jusqu'à assurer la création, entre 1865 et 1870, de quatre opéras de Wagner (TRISTAN ET ISOLDE, LES MAITRES CHANTEURS, L'OR DU RHIN et LA WALKYRIE).

 

Wagner donc, mais aussi Mozart et Richard Strauss vont vite devenir les piliers du répertoire au cours de la première moitié du XXème siècle, grâce au talents de chefs comme Bruno Walter, Hans Knappertsbusch et... Richard Strauss, lui-même natif de Munich. Strauss verra deux de ses opéras créés dans sa ville natale : FRIEDENSTAG (Jour de Paix, 1938!), et CAPRICCIO (1942) dont le livret a été élaboré en collaboration avec le chef d'orchestre Clemens Krauss, alors Directeur de l'Opéra.

 

La destruction du bâtiment pendant la guerre n'empêchera pas la tradition de perdurer. C'est ainsi que de 1952 à 1967, l'institution est dirigée par Rudolf Hartmann, un ancien collaborateur de Richard Strauss et Clemens Krauss, et qu'après bien des hésitations sur l'opportunité de bâtir une salle moderne, l'ancien édifice de 1818 est reconstruit en 1963. Le long règne du chef d'orchestre Wolfgang Sawallisch (1971-1992), éminent représentant de cette tradition faite de rigueur et d'engagement, montre assez la constance avec laquelle le Bayerische Staatsoper assume l'héritage de sa brillante histoire.