Richard Wagner

The sailor's daughter Senta takes pity on the centuries-old legendary figure of the Flying Dutchman. He was condemned by Satan to sail the world's oceans until a woman frees him from this curse through her loyalty. One day, when Senta's father returns home from a long voyage with a mysterious man, Senta is the only one who recognizes the Flying Dutchman in the sinister foreign captain. At the cost of self-destruction, she decides to redeem him. Director Christine Mielitz and her set designer Stefan Mayer see Daland's and the Dutchman's ships as an image of the entire world, of life itself, in which we all have to find our way around.

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Wagner’s sixth opera, “Lohengrin,” tells the medieval legend of the Knight of the Swan: the knight Lohengrin is sent to protect Duchess Elsa of Brabant, who has been unjustly accused of murder. Johannes Erath directs the production, and Joana Mallwitz conducts the orchestra. Piotr Beczała plays the title role. Rachel Willis-Sørensen plays Elsa of Brabant.

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Raised by a scheming dwarf and unaware of his true family origins, a young man embarks on an epic journey.

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The electrifying Lise Davidsen tackles one of the ultimate roles for dramatic soprano: the Irish princess Isolde in Wagner’s transcendent meditation on love and death. Heroic tenor Michael Spyres stars opposite Davidsen as the love-drunk Tristan. Mezzo-soprano Ekaterina Gubanova reprises her signature portrayal of Brangäne, alongside bass-baritone Tomasz Konieczny, who sings Kurwenal after celebrated Met appearances in Wagner’s Der Fliegende Holländer and Ring cycle. Bass-baritone Ryan Speedo Green makes an important role debut as King Marke.

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From Orvieto Cathedral, the traditional Easter Concert. The Maggio Musicale Fiorentino Orchestra, conducted by Maestro Daniele Rustioni, performs Wagner’s *Tannhäuser* Overture and Brahms’ Symphony No. 2 in D major, Op. 73.

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The closing concert of La Folle Journée de Nantes, galvanized by the ebb and flow of the Volga, Mississippi, and Moldau rivers. The program features works by Maria Bach, Franz Schubert, Clara Schumann, Robert Schumann, Richard Wagner, and Bedrich Smetana.

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Norwegian conductor Tabita Berglund leads the Frankfurt Radio Symphony Orchestra in Anna Thorvaldsdottir's Archora, Wagner's Prelude to Tristan and Isolde, and Sibelius' Seventh Symphony. In the first half, Julian Steckel performs Shostakovich's Cello Concerto No. 1.

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The Bayreuth Festival's annual new production is one of the most eagerly awaited events of the operatic calendar, and in 2025 Matthias Davids brings his experience as a multi-award-winning director of musical theatre to Wagner's only mature comedy, Die Meistersinger von Nürnberg. This highly anticipated staging is matched by a superb musical line-up, with Daniele Gatti conducting an international cast including Georg Zeppenfeld as Hans Sachs, Michael Spyres as Walther von Stolzing and the young Swedish soprano Christina Nilsson as Eva. All in all, it promises to be a fresh and revitalizing take on this most inspiring of Wagner's works, which asks fundamental questions about art, inspiration and what it means to be truly creative.

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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.

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On a stormy night, fate brings two strangers together, unleashing a love that has the power to destroy entire worlds. Meanwhile, in the realm of the gods, an epic battle erupts between the ruler Wotan and his rebellious daughter Brünnhilde.

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Gathered at the foot of the rock where Siegfried and Brünnhilde have come together, three Norns weave the fate of the world. Past, present and future are interwoven in their rope; when it breaks unexpectedly, the fates still have one oracle: the twilight of the gods is imminent! Götterdämmerung has more than one ending: Siegfried falls victim to intrigue and to his own innocence, Valhalla goes up in flames, Brünnhilde sacrifices herself to return the ring to the Rhinemaidens. Alliances are forged and immediately broken again, magical potions and helmets create painful confusions, and generational traumas result in general destruction. Everything familiar to humans and gods collapses.

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On an open-air stage in the castle courtyard, Klaus Florian Vogt and the Munich Symphony Orchestra present a varied program featuring works by Mozart, Wagner, and Strauss.

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Daniel Harding, Music Director of the Accademia, conducts the Orchestra and Chorus of the Accademia Nazionale di Santa Cecilia in Richard Wagner’s *Die Walküre*, presented in a special staged production.

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On the streets of Vienna, a musical interview with Latvian soprano Elīna Garanča, who shares some of her fondest memories of performing on stage. On the program: Mozart, Mahler, Bizet, and Wagner.

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The Vienna State Opera celebrates the 80th anniversary of the Second Austrian Republic in the Burggarten gardens and offers a preview of the 2025–2026 season. The programme features the prestigious voices of Elīna Garanča, Jonas Kaufmann and Benjamin Bernheim, among others, with the Opera Orchestra conducted by Bertrand de Billy.

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That year, political tensions between the two enemy states had eased, and the aim was to deepen their cultural relationship. This event became a musical highlight, significant for the bond it forged between these two cultures.

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Production Bayreuth 2024. There is no arrival in Tristan and Isolde, only the longing for the unattainable, for the place “where the end of deception promised me my heart”. Two people who strive to fall out of the roles ascribed to them, to escape the supposed lies of the day. Two people suffering from life, whose declaration of love consists of wanting to restore a moment that has irretrievably passed. Two nocturnal devotees who, in their regressive desire to be uplifted and completely abandon themselves, lose touch with reality and who, in their desire to abandon their ego to another and escape their own history, ultimately fail themselves. “To long to die, not to die of longing.”

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Der Ring des Nibelungen in a production of the Zürich opera house, recorded 2024. "Dramatic music-making at its finest". In the hands of General Music Director Gianandrea Noseda and Stage Director Andreas Homoki, Wagner's myth is represented as "a dysfunctional family of gods" (The Independent) in a polished yet unpretentious production that underscores the humanity of the characters, who are performed by the same exceptional cast of singers across all four operas.

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Der Ring des Nibelungen in a production of the Zürich opera house, recorded 2024. "Dramatic music-making at its finest". In the hands of General Music Director Gianandrea Noseda and Stage Director Andreas Homoki, Wagner's myth is represented as "a dysfunctional family of gods" (The Independent) in a polished yet unpretentious production that underscores the humanity of the characters, who are performed by the same exceptional cast of singers across all four operas.

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Der Ring des Nibelungen in a production of the Zürich opera house, recorded 2024. "Dramatic music-making at its finest". In the hands of General Music Director Gianandrea Noseda and Stage Director Andreas Homoki, Wagner's myth is represented as "a dysfunctional family of gods" (The Independent) in a polished yet unpretentious production that underscores the humanity of the characters, who are performed by the same exceptional cast of singers across all four operas.

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Der Ring des Nibelungen in a production of the Zürich opera house, recorded 2024. "Dramatic music-making at its finest". In the hands of General Music Director Gianandrea Noseda and Stage Director Andreas Homoki, Wagner's myth is represented as "a dysfunctional family of gods" (The Independent) in a polished yet unpretentious production that underscores the humanity of the characters, who are performed by the same exceptional cast of singers across all four operas.

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Through the power of a love potion, Tristan and Isolde have fatefully fallen for each other, but Princess Isolde is promised to Marke, the king and Tristan's liege lord. The lovers live their connection in secret, which inevitably has to be discovered and leads to catastrophe. The visually stunning production by Marco Arturo Marelli prepares the ground for the secret of this love in space and color, captured in Richard Wagner's opera, which premiered in 1865, in which the music becomes almost the sole carrier of the plot.

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From Orvieto Cathedral, the traditional Easter Concert conducted by Maestro Daniele Gatti with the Orchestra del Maggio Musicale Fiorentino. The programme features Haydn’s famous Symphony No. 4, Hindemith’s *Nobilissima Visione* Suite, and Wagner’s *Parsifal*: *The Enchantment of Good Friday*.

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The latest edition of the Festival International de Colmar opens with an exceptional performance from the Orchestre Symphonique du Théâtre Royal de la Monnaie de Bruxelles, conducted by Alain Altinoglu. After Wagner's Prelude to Lohengrin, baritone Stéphane Degout sings Mahler's Songs of a Wandering Companion. The evening at Saint-Matthieu church closes with César Franck's Symphony in D minor, a jewel from the repertoire of the late 19th century.

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Director and visual artist Romeo Castellucci will tackle this mythological material and project his visions over the course of the journey performed by the characters, representing concretely such key elements of the Ring as water and fire. This symbolic reading will concentrate on essential aspects of the libretto, inviting spectators to forge their own interpretation. Avoiding irony, Castellucci will treat each protagonist with equal importance, highlighting the aspirations, emotions and thoughts that animate them: absolute love and the conquest of power.

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When a precious hoard of gold is stolen from the river Rhine, it unleashes a chain of destructive events, pitting gods and mortals against one another for generations. Wagner’s Ring cycle boasts some of the greatest music ever written for the opera stage. Join us as we embark on a spectacular journey into the world of myth, dream and memory, with the figure of Erda – Mother Earth herself – at its centre.

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Siegfried's love story transposed to a high-tech hell... A fascinating re-reading of the third opera in Wagner's tetralogy, served up by Dmitri Tcherniakov's daring staging and Christian Thielemann's virtuoso musical direction.

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Christian Thielemann conducts "Walküre", the second part of the "Ring des Nibelungen", at the Staatsoper Unter den Linden. Having paid the giants for building Valhalla with the ring stolen from Alberich, Wotan is determined to get it back. For if he fell into Alberich's hands again, the fate of the gods would be sealed. But since he himself, as the father of the gods, is not allowed to break contracts, his children Siegmund and Sieglinde are to take care of that...

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In the vision of Philippe Grandrieux, the director of Tristan und Isolde, the latter is the driving force behind the passionate drama of Tristan and herself. She is an erotomaniac who wants to possess and swallow him whole. Philippe Grandrieux's direction focuses on Isolde's desire and not the desire of both of them (as classical literature usually reads Wagner's opera).

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In the second part of the tetralogy, Schwarz delves in particular into the relationship between Wotan, the father of the gods, and his “favorite daughter” Brünnhilde, showing it as especially unhappy and traumatic. Lise Davidsen and Klaus Florian Vogt prove themselves audience favourites for their portrayal of the siblings and lovers Sieglinde and Siegmund.

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