Così fan tutte
With the production of Mozart’s final comic opera in Italian, the young French director Vincent Huguet and Daniel Barenboim set the stage for a new Da Ponte cycle at Staatsoper Unter den Linden.
Così fan tutte
With the production of Mozart’s final comic opera in Italian, the young French director Vincent Huguet and Daniel Barenboim set the stage for a new Da Ponte cycle at Staatsoper Unter den Linden.
Così fan tutte
With the production of Mozart’s final comic opera in Italian, the young French director Vincent Huguet and Daniel Barenboim set the stage for a new Da Ponte cycle at Staatsoper Unter den Linden.
Così fan tutte
With the production of Mozart’s final comic opera in Italian, the young French director Vincent Huguet and Daniel Barenboim set the stage for a new Da Ponte cycle at Staatsoper Unter den Linden.
Così fan tutte
With the production of Mozart’s final comic opera in Italian, the young French director Vincent Huguet and Daniel Barenboim set the stage for a new Da Ponte cycle at Staatsoper Unter den Linden.
Così fan tutte
With the production of Mozart’s final comic opera in Italian, the young French director Vincent Huguet and Daniel Barenboim set the stage for a new Da Ponte cycle at Staatsoper Unter den Linden.
La Boheme
The production by Richard Jones, which we remember from the 2017-2018 season, approaches this "indestructible title" with a respect for tradition, but taking its distance. The audience watches the stage hands shift scenery, perhaps in keeping with a Puccini who set aside raw verismo in order to preserve, as if wrapped in amber, a piece of reality.
La Boheme
The production by Richard Jones, which we remember from the 2017-2018 season, approaches this "indestructible title" with a respect for tradition, but taking its distance. The audience watches the stage hands shift scenery, perhaps in keeping with a Puccini who set aside raw verismo in order to preserve, as if wrapped in amber, a piece of reality.
La Boheme
The production by Richard Jones, which we remember from the 2017-2018 season, approaches this "indestructible title" with a respect for tradition, but taking its distance. The audience watches the stage hands shift scenery, perhaps in keeping with a Puccini who set aside raw verismo in order to preserve, as if wrapped in amber, a piece of reality.
La Boheme
The production by Richard Jones, which we remember from the 2017-2018 season, approaches this "indestructible title" with a respect for tradition, but taking its distance. The audience watches the stage hands shift scenery, perhaps in keeping with a Puccini who set aside raw verismo in order to preserve, as if wrapped in amber, a piece of reality.
La Boheme
The production by Richard Jones, which we remember from the 2017-2018 season, approaches this "indestructible title" with a respect for tradition, but taking its distance. The audience watches the stage hands shift scenery, perhaps in keeping with a Puccini who set aside raw verismo in order to preserve, as if wrapped in amber, a piece of reality.
La Boheme
The production by Richard Jones, which we remember from the 2017-2018 season, approaches this "indestructible title" with a respect for tradition, but taking its distance. The audience watches the stage hands shift scenery, perhaps in keeping with a Puccini who set aside raw verismo in order to preserve, as if wrapped in amber, a piece of reality.