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StuttgartJakub Hrůša dirigiert Beethoven und Stravinsky
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Cherubini, Beethoven, Stravinsky
Bamberg Symphony; Jakub Hrůša; Dame Mitsuko Uchida
StuttgartCreations XIII – XV
Various: Mixed Programme
Vittoria Girelli; Samantha Lynch; Morgann Runacre-Temple; Stuttgart Ballet
StuttgartCreations XIII – XV
New works
Vittoria Girelli; Samantha Lynch; Morgann Runacre-Temple; Stuttgart Ballet; Tamas Detrich
StuttgartJenůfa
Janáček: Jenůfa
Marc Piollet; Calixto Bieito; Staatsoper Stuttgart; Susanne Gschwender; Ingo Krügler; Reinhard Traub; Staatsorchester Stuttgart
StuttgartDie Frau ohne SchattenNew production
Strauss R.: Die Frau ohne Schatten
Cornelius Meister; David Hermann; Staatsoper Stuttgart; Jo Schramm; Claudia Irro; Staatsorchester Stuttgart
StuttgartLa Fest
Handel, Rameau, Vivaldi
Staatsorchester Stuttgart; Benjamin Bayl; Eric Gauthier; Susanne Gschwender; Gudrun Schretzmeier; Miron Hakenbeck
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Bang to rights: a rare outing for an opera from the former GDR
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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
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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
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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
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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.