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Guide to Göteborg Opera

« We aim to tear down the barriers that make opera seem unapproachable, to make sure that thrilling music theatre and opera are accessible to anybody who is interested to join us. »
Stephen Langridge, artistic director
« Jede Geste der Figuren, jeder Atemzug der Sänger erzählt vom unausweichlichen Leid unserer Heldin. »
Katharina Hogrefe, review on 28 February 2016
The Göteborg Opera was inaugurated in 1994 and is to be found next to Lilla Bommen in the Göteborg harbour. Here opera, dance and musicals are performed under the same roof

When architect Jan Izikowitz was drawing the opera house he found inspiration in the world of opera. But also in the splendid fairytale landscape surrounding Gothenburg harbour. Silhouettes of ships, hulls, wind-filled sails, bridges and harbour cranes can be seen in the architecture of the building.

The Göteborg Opera has 250,000 visitors per year and about 270 performances are given on the different stages. Several international stars have visited the opera house through the years. Nina Stemme, Peter Mattei and Katarina Dalayman are a few of them.

Latest reviewsSee more...

Figaro returns to Gothenburg

Sofie Asplund (Susanna) and Markus Schwartz (Figaro) © Mats Bäcker | Göteborgs Operan
Gothenburg Opera's revival under the baton of Leo Hussain shone with a harmonious cast in a timeless staging.
****1
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Notorious: world première in Gothenburg

Michael Weinius (Alex) and Katarina Karnéus (Madame Sebastian) © Mats Bäcker | Göteborgs Operan
When one of the most sought-after sopranos of our time slips into the role of her most famous countrywoman, the foundations for an eventful evening of opera have already been laid. The Swedish world première Notorious, after Alfred Hitchcock's film of the same title, shows in an all-round successful production that contemporary opera can have a promising future.
*****
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INTERVIEW WITH GRAHAM VICK

Mozart's Idomeneo: a step of evolution in Göteborg

Graham Vick © Hugo Glendinning
Idomeneo is still something of a 'Cinderella' among Mozart's operas, yet Graham Vick is about to direct it for the third time. What draws him back to it?