Eva Mei (Violetta Valéry), Katharina Peetz (Flora Bervoix), Martina Welschenbach (Annina); Jonas Kaufmann (Alfredo Germont), Renato Bruson (Giorgio Germont), Boguslaw Bidzinski (Gastone), Cheyne Davidson (Barone Douphal), Reinhard Mayr (Marquese d Obigny), Tomasz Slawinski (Dottor Grenvil), Noel Vazques (Giuseppe), Heikki Yrttiaho (Domestico), Uwe Kosser (Comissionario)

The story is one of the best-known and most moving in opera history: the beautiful but fatally ill courtesan Violetta Valéry changes her dissipated lifestyle when she encounters her great love, Alfredo Germont. However, Alfredo’s father hinders them from enjoying their happiness, because he fears for his family’s reputation. Impoverished and abandoned by her friends, Violetta dies after a brief reunion with Alfredo.

Verdi wrote his opera after the famous novel “La Dame aux Camélias” by Alexandre Dumas fils. The novel is in turn based on fact: Marguerite Gautier, the historical model for the lady with the camellias, was one of the most sought-after women in the Paris demimonde until her early death in 1846. And Alexandre Dumas knew exactly what he was writing about: he was himself one of Marguerite Gautier’s occasional lovers. In Jürgen Flimm’s production, the relationship between Violetta, Alfredo and his father, Germont père, becomes a subtly psychological, intimate play that does not pass judgement on any of the clashing social positions the figures represent.

Malin Hartelius (La Contessa), Martina Janková (Susanna), Judith Schmid (Cherubino), Irène Friedli (Marcellina), Eva Liebau (Barbarina); Michael Volle (Conte di Almaviva), Erwin Schrott (Figaro), Martin Zysset (Basilio), Carlos Chausson (Bartolo), Andreas Winkler (Don Curzio), Giuseppe Scorsin (Antonio)

The important man asked the woman who believed in him, but whom he himself had not believed so willingly, for forgiveness, falling on his knees before her excellent character. But even now one felt an unconquerable sympathy for this almost too gentle and magnanimous woman, a sympathy that also referred to all the others, which was the most nonchalant way of thanking the author of the piece. I left the theatre with the feeling that the piece had by no means come to an end, that it should go on for ever, never draw to a close, like never-wilting, ever-flourishing life itself.
Robert Walser after a performance of “Le Nozze di Figaro”

Ernst Raffelsberger, Jochen Rieder

Yvonne Naef (Kundry), Sandra Trattnigg (1. Blumenmädchen I), Ana Maria Labin (2. Blumenmädchen I), Katharina Peetz (3. Blumenmädchen I), Sen Guo (1. Blumenmädchen II), Christiane Kohl (2. Blumenmädchen II), Irène Friedli (3. Blumenmädchen III), Kismara Pessatti (Stimme aus der Höhe), Sen Guo (1. Knappe), Katharina Peetz (2. Knappe); Christopher Ventris (Parsifal), Michael Volle (Amfortas), Matti Salminen (Gurnemanz), Rolf Haunstein (Klingsor), Günther Groissböck (Titurel), Miroslav Christoff (1. Gralsritter), Günther Groissböck (2. Gralsritter), Andreas Winkler (3. Knappe), Boguslaw Bidzinski (4. Knappe)

Together with his design team, director Hans Hollmann has adopted an ambivalent approach: the team definitely did not want to explore the work in social or psychological terms. They were more concerned with identifying Wagner's ambiguous system of values than with interpretation, with presenting rather than deciphering or assessing the secret. Hans Hoffer designed a stage set consisting of veils of gauze; only glittering laser messages provide guidance in the form of verbal and visual codes, characters that glow like promising riddles from an uncertain, almost Beckettian landscape.
Weltwoche

Last performance this season

Silvia Tro Santafé (Rosina), Christiane Kohl (Berta); Luigi Petroni (Almaviva), Oliver Widmer (Figaro), Carlos Chausson (Bartolo), Pavel Daniluk (Basilio), Valeriy Murga (Offizier), Valeriy Murga (Fiorillo), Grischa Asagaroff (Ambrogio)

The very best of operatic tradition performed to outstanding artistic standards in the most luxurious setting: Luigi Perego's sophisticated, rotating stage, with its semi-circular sets in the shape of coquettishly draped fans is not only a feast for the eyes, but also enables the décor to be changed in a flash as well as allowing witty parallel narratives with at times rather mischievous commentaries, which thus reflect the sparkling brio of the plot and score.
Der Bund

On the picture: Carlos Chausson

Ernst Raffelsberger, Jochen Rieder

Yvonne Naef (Kundry), Sandra Trattnigg (1. Blumenmädchen I), Ana Maria Labin (2. Blumenmädchen I), Katharina Peetz (3. Blumenmädchen I), Sen Guo (1. Blumenmädchen II), Christiane Kohl (2. Blumenmädchen II), Irène Friedli (3. Blumenmädchen III), Kismara Pessatti (Stimme aus der Höhe), Sen Guo (1. Knappe), Katharina Peetz (2. Knappe); Christopher Ventris (Parsifal), Michael Volle (Amfortas), Matti Salminen (Gurnemanz), Rolf Haunstein (Klingsor), Günther Groissböck (Titurel), Miroslav Christoff (1. Gralsritter), Günther Groissböck (2. Gralsritter), Andreas Winkler (3. Knappe), Boguslaw Bidzinski (4. Knappe)

Together with his design team, director Hans Hollmann has adopted an ambivalent approach: the team definitely did not want to explore the work in social or psychological terms. They were more concerned with identifying Wagner's ambiguous system of values than with interpretation, with presenting rather than deciphering or assessing the secret. Hans Hoffer designed a stage set consisting of veils of gauze; only glittering laser messages provide guidance in the form of verbal and visual codes, characters that glow like promising riddles from an uncertain, almost Beckettian landscape.
Weltwoche

Last performance this season

Sen Guo (Königin der Nacht), Julia Kleiter (Pamina), Sandra Trattnigg (1. Dame), Martina Welschenbach (2. Dame), Katharina Peetz (3. Dame), Eva Liebau (Papagena); Matti Salminen (Sarastro), Christoph Strehl (Tamino), Ruben Drole (Papageno), Gabriel Bermudez (Sprecher), Andreas Winkler (1. Priester), Morgan Moody (2. Priester), Rudolf Schasching (Monostatos), Andreas Winkler (1. Geharnischter), Tomasz Slawinski (2. Geharnischter), Zurich Boys' Choir

There is only one example I can remember that comes closest to the ideal: it is the “Magic Flute”. This work combines the instructional, the spectacular, the solemn and the entertaining; bewitching music is added to this, or rather floats above and embraces it.
Ferruccio Busoni

Nina Stemme (Feldmarschallin Fürstin Werdenberg), Vesselina Kasarova (Octavian), Julia Kleiter (Sophie), Christiane Kohl (Leitmetzerin), Kismara Pessatti (Annina); Chorsolist (eine Modistin), Chorsolist (1. adelige Waise), Chorsolist (2. adelige Waise), Chorsolist (3. adelige Waise), Alfred Muff (Ochs auf Lerchenau), Rolf Haunstein (Herr von Faninal), Rudolf Schasching (Valzacchi), Reinhard Mayr (Polizeikommisar), Martin Zysset (Haushofmeister Marschallin), Andreas Winkler (Haushofmeister Faninal), Tomasz Slawinski (Notar), Volker Vogel (ein Wirt), Piotr Beczala (ein Sänger), IOS (ein Tierhändler), Chorsolist (1. Lakai), Chorsolist (2. Lakai), Chorsolist (3. Lakai), Chorsolist (4. Lakai)

The Marschallin is not here in her own interests, and she is not Ochs. They are opposed to each other and yet belong together; the boy Octavian stands between the two - and connects them. Sophie stands in opposition to the Marschallin, the girl against the woman, and Octavian once again steps between them, separating them and yet holding them together. Inside, Sophie is thoroughly bourgeois, like her father, and this group stands in opposition to the highbred and the great, who can allow themselves a great deal. Ochs, whatever kind of person he might be, is after all still a kind of nobleman.

Silvia Tro Santafé (Rosina), Christiane Kohl (Berta); David Alegret (Almaviva), Oliver Widmer (Figaro), Carlos Chausson (Bartolo), Giuseppe Scorsin (Basilio), Valeriy Murga (Offizier), Valeriy Murga (Fiorillo), Timo Schlüssel (Ambrogio)

The very best of operatic tradition performed to outstanding artistic standards in the most luxurious setting: Luigi Perego's sophisticated, rotating stage, with its semi-circular sets in the shape of coquettishly draped fans is not only a feast for the eyes, but also enables the décor to be changed in a flash as well as allowing witty parallel narratives with at times rather mischievous commentaries, which thus reflect the sparkling brio of the plot and score.
Der Bund

On the picture: Carlos Chausson

Sen Guo (Königin der Nacht), Julia Kleiter (Pamina), Sandra Trattnigg (1. Dame), Martina Welschenbach (2. Dame), Katharina Peetz (3. Dame), Eva Liebau (Papagena); Matti Salminen (Sarastro), Christoph Strehl (Tamino), Ruben Drole (Papageno), Gabriel Bermudez (Sprecher), Andreas Winkler (1. Priester), Morgan Moody (2. Priester), Rudolf Schasching (Monostatos), Andreas Winkler (1. Geharnischter), Tomasz Slawinski (2. Geharnischter), Zurich Boys' Choir

There is only one example I can remember that comes closest to the ideal: it is the “Magic Flute”. This work combines the instructional, the spectacular, the solemn and the entertaining; bewitching music is added to this, or rather floats above and embraces it.
Ferruccio Busoni

Silvia Tro Santafé (Rosina), Christiane Kohl (Berta); Luigi Petroni (Almaviva), Oliver Widmer (Figaro), Carlos Chausson (Bartolo), Pavel Daniluk (Basilio), Valeriy Murga (Offizier), Valeriy Murga (Fiorillo), Timo Schlüssel (Ambrogio)

The very best of operatic tradition performed to outstanding artistic standards in the most luxurious setting: Luigi Perego's sophisticated, rotating stage, with its semi-circular sets in the shape of coquettishly draped fans is not only a feast for the eyes, but also enables the décor to be changed in a flash as well as allowing witty parallel narratives with at times rather mischievous commentaries, which thus reflect the sparkling brio of the plot and score.
Der Bund

On the picture: Carlos Chausson

Sen Guo (Königin der Nacht), Sandra Trattnigg (Pamina), Christiane Kohl (1. Dame), Martina Welschenbach (2. Dame), Katharina Peetz (3. Dame), Eva Liebau (Papagena); Matti Salminen (Sarastro), Christoph Strehl (Tamino), Ruben Drole (Papageno), Gabriel Bermudez (Sprecher), Andreas Winkler (1. Priester), Morgan Moody (2. Priester), Rudolf Schasching (Monostatos), Andreas Winkler (1. Geharnischter), Tomasz Slawinski (2. Geharnischter), Zurich Boys' Choir

There is only one example I can remember that comes closest to the ideal: it is the “Magic Flute”. This work combines the instructional, the spectacular, the solemn and the entertaining; bewitching music is added to this, or rather floats above and embraces it.
Ferruccio Busoni

Nina Stemme (Feldmarschallin Fürstin Werdenberg), Vesselina Kasarova (Octavian), Julia Kleiter (Sophie), Christiane Kohl (Leitmetzerin), Brigitte Pinter (Annina); Chorsolist (eine Modistin), Chorsolist (1. adelige Waise), Chorsolist (2. adelige Waise), Chorsolist (3. adelige Waise), Alfred Muff (Ochs auf Lerchenau), Rolf Haunstein (Herr von Faninal), Rudolf Schasching (Valzacchi), Reinhard Mayr (Polizeikommisar), Martin Zysset (Haushofmeister Marschallin), Andreas Winkler (Haushofmeister Faninal), Tomasz Slawinski (Notar), Volker Vogel (ein Wirt), Piotr Beczala (ein Sänger), IOS (ein Tierhändler), Chorsolist (1. Lakai), Chorsolist (2. Lakai), Chorsolist (3. Lakai), Chorsolist (4. Lakai)

The Marschallin is not here in her own interests, and she is not Ochs. They are opposed to each other and yet belong together; the boy Octavian stands between the two - and connects them. Sophie stands in opposition to the Marschallin, the girl against the woman, and Octavian once again steps between them, separating them and yet holding them together. Inside, Sophie is thoroughly bourgeois, like her father, and this group stands in opposition to the highbred and the great, who can allow themselves a great deal. Ochs, whatever kind of person he might be, is after all still a kind of nobleman.

Malin Hartelius (La Contessa), Martina Janková (Susanna), Judith Schmid (Cherubino), Irène Friedli (Marcellina), Eva Liebau (Barbarina); Michael Volle (Conte di Almaviva), Erwin Schrott (Figaro), Martin Zysset (Basilio), Carlos Chausson (Bartolo), Andreas Winkler (Don Curzio), Giuseppe Scorsin (Antonio)

The important man asked the woman who believed in him, but whom he himself had not believed so willingly, for forgiveness, falling on his knees before her excellent character. But even now one felt an unconquerable sympathy for this almost too gentle and magnanimous woman, a sympathy that also referred to all the others, which was the most nonchalant way of thanking the author of the piece. I left the theatre with the feeling that the piece had by no means come to an end, that it should go on for ever, never draw to a close, like never-wilting, ever-flourishing life itself.
Robert Walser after a performance of “Le Nozze di Figaro”

Sen Guo (Königin der Nacht), Sandra Trattnigg (Pamina), Christiane Kohl (1. Dame), Martina Welschenbach (2. Dame), Katharina Peetz (3. Dame), Eva Liebau (Papagena); Matti Salminen (Sarastro), Christoph Strehl (Tamino), Ruben Drole (Papageno), Gabriel Bermudez (Sprecher), Andreas Winkler (1. Priester), Morgan Moody (2. Priester), Rudolf Schasching (Monostatos), Andreas Winkler (1. Geharnischter), Tomasz Slawinski (2. Geharnischter), Zurich Boys' Choir

There is only one example I can remember that comes closest to the ideal: it is the “Magic Flute”. This work combines the instructional, the spectacular, the solemn and the entertaining; bewitching music is added to this, or rather floats above and embraces it.
Ferruccio Busoni

Malin Hartelius (La Contessa), Martina Janková (Susanna), Judith Schmid (Cherubino), Irène Friedli (Marcellina), Eva Liebau (Barbarina); Michael Volle (Conte di Almaviva), Erwin Schrott (Figaro), Martin Zysset (Basilio), Carlos Chausson (Bartolo), Andreas Winkler (Don Curzio), Giuseppe Scorsin (Antonio)

The important man asked the woman who believed in him, but whom he himself had not believed so willingly, for forgiveness, falling on his knees before her excellent character. But even now one felt an unconquerable sympathy for this almost too gentle and magnanimous woman, a sympathy that also referred to all the others, which was the most nonchalant way of thanking the author of the piece. I left the theatre with the feeling that the piece had by no means come to an end, that it should go on for ever, never draw to a close, like never-wilting, ever-flourishing life itself.
Robert Walser after a performance of “Le Nozze di Figaro”

Norma Fantini (Mimì), Christiane Kohl (Musetta); Marcelo Alvarez (Rodolfo), Massimo Cavalletti (Marcello), Gabriel Bermudez (Schaunard), Giuseppe Scorsin (Colline), Rolf Haunstein (Benoît), Morgan Moody (Alcindoro), Chorsolist (Parpignol)

The poet Rodolfo, the painter Marcello, the musician Schaunard and the philosopher Colline are close friends. The four Bohemians lead a modest existence together in an attic in Paris, but try to make the best of it. One Christmas Eve Rodolfo falls head over heels in love with his neighbour Mimì, a pretty seamstress. He warms her icy hands and her timid heart. Yet the happiness of the two lovers has no future: gravely ill, Mimì dies surrounded by her friends.