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StuttgartThe Love for Three Oranges
Prokofiev: L’amour des trois oranges (The Love for Three Oranges)
Killian Farrell; Axel Ranisch; Staatsoper Stuttgart; Saskia Wunsch; Bettina Werner; Reinhard Traub; Staatsorchester Stuttgart
StuttgartJuditha triumphansNew production
Vivaldi: Juditha triumphans, RV 644
Benjamin Bayl; Silvia Costa; Staatsoper Stuttgart; Laura Dondoli; Bernd Purkrabek; Staatsorchester Stuttgart
StuttgartCurrentzis conducts Brahms, Messiaen and Bång
Brahms, Messiaen, Bång
SWR Symphony Orchestra; Teodor Currentzis; Vadym Kholodenko
StuttgartTosca
Puccini: Tosca
Giuliano Carella; Willy Decker; Staatsoper Stuttgart; Killian Farrell; Wolfgang Gussmann; Staatsorchester Stuttgart
StuttgartHänsel und GretelNew production
Humperdinck: Hänsel und Gretel
Alevtina Ioffe; Axel Ranisch; Staatsoper Stuttgart; Saskia Wunsch; Alfred Mayerhofer; Reinhard Traub; Staatsorchester Stuttgart
Latest reviewsSee more...
Bang to rights: a rare outing for an opera from the former GDR
Die Verurteilung des Lukullus, Paul Dessau and Bertolt Brecht's political satire about a Roman general judged for his deeds after death, has lost none of its relevance in Staatsoper Stuttgart's new production.
Alina Ibragimova and Nils Mönkemeyer in love with Mozart
The soloists turn out to be the perfect couple, while the camerawork covers the action like it was a soccer match.
Freshly hatched: Gauthier Dance's Dying Swans Project
A very mixed set of filmed solos themed around The Dying Swan, although this link was often tenuous.
Spookiness in Stuttgart with Eschenbach and Kopatchinskaja
The darker sides of Romantic inventiveness are explored in Schumann’s neglected violin concerto and the clandestine woodland rustle of Dvořák’s G major symphony.
In Konwitschny's modern Medea, monsters are made by men
Director Peter Konwitschny's staging of Cherubini's Medea critiques rejection and mistreatment of refugees. A strong new German translation and a talented cast make this a must-see.
Rousseau and a boxing ring: Ariodante in Stuttgart
In Jussi Wieler and Sergio Morabito’s pugilistic production of Ariodante, the singers needed as much physical and gymnastic dexterity as vocal finesse.