Every character is sharply drawn, as is the drama itself, staged by Peter Sellars. A bridge is built from mythical times to the present, underlining once again the relevance and continuing impact of ancient Greek mythology in the present day.
In his production of »Aida« director Calixto Bieito focuses on the Kammerspiel-like passages of the opera as well as the conflict between the political events surrounding the piece at the time it was produced and the present day.
Medea, who comes from the periphery of the known world and is obviously a stranger in a civilized country, disturbs the peace and order and becomes a hateful, avenging angel bringing death and destruction.
A new staging is directed by Romeo Castellucci, whose works are marked by a powerful visual language in which music, light and visual arts blend.
The concluding chapter of his monumental four-part opus. Inspired by Norse sagas and legends, Wagner gradually created the background stories so that the world of the gods merged with that of the people.
The future seems to belong to Siegfried and Brünnhilde, whose joy knows no bounds. And yet a tragic finale seems inevitable.
In this section, humans appear for the first time and Wagner restarts his story to some extent. The music takes on a new tone, too, reflecting the powerful feelings that are taking up more and more space with great expression and emphasis.
Wagner's major family saga becomes an all-encompassing epic about power and love, war and peace, and the beneficial and disastrous effects of passions.
The story of the Ethiopian Princess Aida who falls in love with the Egyptian army officer Radames. Verdi's beloved opera about the price of war and hatred between nations returns in a grand new production.
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.
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.
On a loyal, desperate, and dangerous rescue mission deep within the contemporary dark labyrinth of the drug underworld, one can easily get caught up by its apparent magic.