Myriam Hoyer

The Hamburg Ballet was one of the first ballet companies internationally to return to its studios after the first lockdown. The ballet Ghost Light by John Neumeier deals with isolation and the feelings and fantasies an empty stage may evoke. Developed in fragments using small groups of dancers and under the constraints imposed by Covid-19, the choreography reflects situations, fears, relationships, memories, and emotions experienced during the pandemic.

Erich Wolfgang Korngold's "Die tote Stadt" in a Bayerische Staatsoper production from 2019, directed by Simon Stone. Kirill Petrenko is conducting Jonas Kaufmann and Marlis Petersen.

Neumeier's dance version of the Shakespeare play about the trials and tribulations of love has lost none of its freshness over three decades after its premiere. With his selection of music, which ranges from Mendelssohn Bartholdy to György Ligeti to traditional barrel organ music, John Neumeier shows his dramaturgical sensibility by integrating three different musical styles into his choreographic narrative.

In his 45th year as artistic director of Hamburg Ballet, John Numeier directs a modern adaptation of Tolstoy's masterpiece "Anna Karenina" in co-production with the Bolshoi Theatre and the National Ballet of Canada.

Die Zauberflöte is one of Mozart’s most famous works and one of the most beloved of the entire operatic repertoire. Generations of spectators have been fascinated by the melodies and adventures of Papageno, the Queen of the Night, Tamino, and Pamina, the ordeals faced by the young lovers, and the work’s inexhaustible allegorical depth. The director Romeo Castellucci has deliberately stepped back from the narrative dimension of the opera in order to explore its raw emotion and its philosophical heart. For his part, the conductor Antonello Manacorda brings Mozart’s immortal music to life with the help of an outstanding cast that includes Sabine Devieilhe, one of today’s finest interpreters of the Queen of the Night.

Romeo Castellucci's production of Christoph Willibald Gluck's mythic opera. Concurrently via projected text, we learn the story of Els, a bedridden woman with locked-in syndrome, conscious but near-completely paralyzed. A live video feed from the hospital shows Els listening to the music along with the audience.

From the Berlin State Opera comes the premiere of an acclaimed multimedia creation that blends opera and film: Marc-André Dalbavie and Guillaume Métayer's adaptation of László Krasznahorkai's allegorical bestseller The Melancholy of Resistance, boasting an all-star cast with Philippe Jaroussky, Sandrine Piau, Matthias Klink, and Tanja Ariana Baumgartner! A slowly decaying small town is thrown into disarray by the appearance of a bizarre circus that features an enormous whale and a three-eyed Prince — an arrival that ultimately leads the townspeople toward the chaos of rebellion, groupthink, and totalitarianism. All throughout, David Marton's canny direction allows us a multifaceted view of events, as onstage action is juxtaposed with parallel scenes projected live from a filmed set behind the screen.

The Magic Flute by Mozart at La Monnaie.

L’Italiana in Londra was Domenico Cimarosa’s first international triumph, thrilling audiences all over Europe after its premiere in 1778. It later became eclipsed by the even bigger success of Il matrimonio segreto however, and has become a rarity on stage today. Set in a London hotel, this cheerful ‘Intermezzo in musica’ has cleverly crafted arias, duets and ensembles that drive the plot along, the story being one of thwarted love, quarrels and misunderstandings. L’Italiana in Londra has been summed up by director R.B. Schlather as ‘incredibly charming and sophisticated ... demanding, dark, dirty and very funny ... an impeccable rom-com.’

The story of Jenůfa and her stepmother, the verger’s wife, is set within the confines of a closed community. Rivalry, jealousy and social control degenerate into the murder of an illegitimate but innocent child. Leoš Janáček’s third opera, based on the controversial play by Gabriela Preissová, is best known as Jenůfa, but by giving it the subtitle Her stepdaughter, the composer underlined the importance of the stepmother. Janáček’s score was rejected for a long time by the National Theatre in Prague. Jenůfa was nevertheless his breakthrough as a composer in musical theatre, where he used the speech melody as ‘the most authentic expression of the soul’. The Latvian director Alvis Hermanis, one of the masters of European theatre, makes his debut at La Monnaie. Our chief conductor Ludovic Morlot is the musical director.