Lydia Steier

Ulli is a lonely soul. He doesn't have many friends. He spends his days at work, as a programmer in an office. At the weekend, he reads a lot or watches TV.

A spectacular chase between the prince and the monster opens the scene, featuring a love story with a kidnapped princess, two warring antagonists—the Queen of the Night and Sarastro—, "funny characters" like Papageno and Papagena, and, last but not least, the magical instruments of flute and glockenspiel... The enchanting music and fairytale motifs make "The Magic Flute" the perfect introduction to the world of opera for young and old.

Poseidon demands Medusa’s submission. Hoping to protect her, her sisters send her to live with the priestesses of Athena’s temple. But the god of the sea emerges from the waves and rapes the young woman, defiling the temple. To punish her for this desecration, Athena turns Medusa into a monstrous creature: her hair becomes a nest of snakes and her gaze turns anyone who looks at her to stone. This terrifying power arouses the lust of heroes, who pursue her in her exile…

Priestess Julia watches over the eternal flame of the goddess Vesta. While the Great Vestal condemns to death every virgin who breaks her vow of chastity, Julia is delighted to be reunited with Licinius, who has returned from war as a victorious Roman general. One night, as the two lovers swear their love before the temple altar, the eternal flame goes out…

A count has designs on his personal valet's fiancée and is determined to stop their wedding taking place. Meanwhile, the countess tries to regain her husband's love by any means necessary. Mozart's great comic opera is a tale of intrigue, misunderstanding and forgiveness. Director Lydia Steier teases out the touching melancholy of the characters with the mixture of opulence and black humour. Oper! magazine’s ‘Opera house of the year’ in 2020, Staatsoper Hannover is on an artistic high and happy to share this production worldwide via OperaVision.

When Strauss and Hofmannsthal wrote «Der Rosenkavalier» – setting it in an imaginary Rococo Vienna and yet closely linked to the decadent fin de siècle – they created a profound social comedy. It is not without melancholy that the Marschallin lets her young lover Octavian go when he falls head over heels with Sophie, who hails from Faninal’s bourgeois household. As voluptuous as Strauss' score is, it contains tender moments of dream and melancholy. Director Lydia Steier stages Strauss’ opera according to an aesthetic concept by Austrian artist Gottfried Helnwein. Diana Damrau sings the Marschallin. Joana Mallwitz, chief conductor at the Konzerthaus Berlin, conducts the Orchester der Oper Zürich.

A magical opera, a Singspiel, a comedy with spectacular stage effects, a Masonic ritual intertwined with Egyptian mysteries, a heroic-comic opera? "The Magic Flute" has been heard, performed, discussed, scrutinised and questioned more often than almost any other work in the history of opera. But this time, they’ve really outdone themselves... .

H.G. Wells's story traces the experiences of a man, ravaged by dreams in which he serves as the proverbial frog in the pot of water: in a dystopian dream-world where a military dictatorship threatens to take absolute power the protagonist, formerly a powerful politician in this dream, chooses to do nothing.

It is about nothing less than love. This is what the Wartburg singing community asks for, and this is what Tannhäuser also seeks: he finds almost endless lust with the goddess of love Venus, and hopes to attain bliss with the "pure" Elisabeth. In his vacillation between satisfaction and renunciation, between guilt and protest, in being torn between fulfillment and exaltation, he corresponds entirely to the grammar of the Romantic age - and still speaks directly to us today.