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Theater Bonn

Mise en scène

Mise en scène (+1)

Aron Stiehl

Chef de chœur

Chef de chœur (+1)

André Kellinghaus

Basse (+4)

Tobias Schabel

Hans Sachs

Pavel Kudinov

Veit Pogner

Baryton (+3)

Mark Morouse

Konrad Nachtigall

Baryton (+6)

Joachim Goltz

Sixtus Beckmesser

Baryton (+5)

Carl Rumstadt

Fritz Kothner

Ténor (+1)

Tae Hwan Yun

Balthasar Zorn

Basse (+3)

Christopher Jähnig

Hermann Ortel

Baryton-basse (+2)

Mikhail Biryukov

Hans Schwarz

Basse (+2)

Martin Tzonev

Hans Foltz

Ténor

Mirko Roschkowski

Walther von Stolzing

Ténor (+4)

Manuel Günther

David

Soprano (+1)

Anna Princeva

Éva

Mezzo-soprano (+4)

Dshamilja Kaiser

Magdalena

Basse

Juhwan Cho

Un veilleur de nuit

Gaston Efficace

Lehrbuben

Baryton (+2)

Matthieu Segui

Ténor (+2)

Eetu Joukainen

Mezzo-soprano (+3)

Alicia Grünwald

Mezzo-soprano (+1)

Pauline Asmuth

Verena Kronbichler

Julia Werner

Chorus

Choir of the Bonn Theater

Extrachor des Theater Bonn

Extras

Extras of the Theater Bonn

Orchestra

Beethoven Orchester Bonn

Opernhaus

Hans-Georg Priese

Augustin Moser

Ténor (+5)

Ralf Rachbauer

Kunz Vogelgesang

Samuel Levine

Ulrich Eisslinger

Choriste

Leon Juurlink

Tianji Lin

Paul Skalicki

Costumes

Décors (+3)

Okarina Peter

Décors

Timo Dentler

Lumières

Max Karbe

Jorge Delgadillo

Dramaturge

Dramaturge (+1)

Polina Sandler

Chorégraphie

Chorégraphie (+1)

Sabine Arthold

Assistant mise en scène

Alma Gentile

Assistant du chef d'orchestre

Direction d'orchestre

Hermes Helfricht

Assistante scénographe

Décors (+1)

Ansgar Baradoy

Assistant costumes

Assistante scénographe (+2)

Margarita Bock

Ján Rusko

Direction d'orchestre (+2)

Dirk Kaftan

How does one recognize a good song? Who decides on what basis it is to be judged?  Do you go by the opinion of the old masters, who insist that their own rules be followed to the letter, or by what you feel deep down in your heart, maybe a feeling of passionate love that you believe to contain some immediate truth? Is there perhaps a golden mean?

Three men from different generations attempt in a singing contest to win over Eva’s heart: but she has made up her mind from the start which one of the three she prefers. By way of a series of lucky and unlucky turns of event, by way of some deception and cunning and finally at the end of the opera by way of a fair competition the fitting lovers find each other. Only their future is open: how to deal with the past and who will define the new rules of the game?

Despite the Nazi regime‘s improper ideological appropriation of the title, this opera remains one of the most successful and beloved Wagner works in opera houses today, because it enables, beyond the obvious, various levels of interpretation. The 1868 original premiere idealizes the bourgeoisie as a class with their own democratic values and principles of achievement and makes fun of conformists and opportunists. It also concerns itself with the question of readiness to compromise and how to integrate the best innovation in the existing system. In Aron Stiehl’s staging the work will be a gigantic festive spectacle in which comical scenes counterbalance on a par the more serious scenes.

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