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Theater Bonn

Regia

Regia (+1)

Aron Stiehl

Direzione del coro

Direzione del coro (+1)

André Kellinghaus

Basso (+4)

Tobias Schabel

Hans Sachs

Pavel Kudinov

Veit Pogner

Baritono (+3)

Mark Morouse

Konrad Nachtigall

Baritono (+6)

Joachim Goltz

Sixtus Beckmesser

Baritono (+5)

Carl Rumstadt

Fritz Kothner

Tenore (+1)

Tae Hwan Yun

Balthasar Zorn

Basso (+3)

Christopher Jähnig

Hermann Ortel

Basso-baritono (+2)

Mikhail Biryukov

Hans Schwarz

Basso (+2)

Martin Tzonev

Hans Foltz

Tenore

Mirko Roschkowski

Walther von Stolzing

Tenore (+4)

Manuel Günther

David

Soprano (+1)

Anna Princeva

Mezzosoprano (+4)

Dshamilja Kaiser

Magdalena

Basso

Juhwan Cho

Un guardiano notturno

Gaston Efficace

Lehrbuben

Baritono (+2)

Matthieu Segui

Tenore (+2)

Eetu Joukainen

Mezzosoprano (+3)

Alicia Grünwald

Mezzosoprano (+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

Tenore (+5)

Ralf Rachbauer

Kunz Vogelgesang

Samuel Levine

Ulrich Eisslinger

Corista

Leon Juurlink

Tianji Lin

Paul Skalicki

Costumi

Scenografia (+3)

Okarina Peter

Scenografia

Timo Dentler

Luci

Max Karbe

Jorge Delgadillo

Drammaturgo

Drammaturgo (+1)

Polina Sandler

Coreografia

Coreografia (+1)

Sabine Arthold

Assistente alla regia

Alma Gentile

Assistente del direttore d'orchestra

Direttore d'orchestra

Hermes Helfricht

Assistente scenografo

Scenografia (+1)

Ansgar Baradoy

Assistente costumista

Assistente scenografo (+2)

Margarita Bock

Ján Rusko

Direttore d'orchestra (+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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