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Theater Bonn

Stage director

Stage director (+1)

Aron Stiehl

Chorusmaster

Chorusmaster (+1)

André Kellinghaus

Bass (+4)

Tobias Schabel

Hans Sachs

Pavel Kudinov

Veit Pogner

Baritone (+3)

Mark Morouse

Konrad Nachtigall

Baritone (+6)

Joachim Goltz

Sixtus Beckmesser

Baritone (+5)

Carl Rumstadt

Fritz Kothner

Tenor (+1)

Tae Hwan Yun

Balthasar Zorn

Bass (+3)

Christopher Jähnig

Herman Ortel

Bass-baritone (+2)

Mikhail Biryukov

Hans Schwarz

Bass (+2)

Martin Tzonev

Hans Foltz

Tenor

Mirko Roschkowski

Walther von Stolzing

Tenor (+4)

Manuel Günther

David

Soprano (+1)

Anna Princeva

Mezzo-soprano (+4)

Dshamilja Kaiser

Magdalena

Bass

Juhwan Cho

Nightwatchman

Gaston Efficace

Lehrbuben

Baritone (+2)

Matthieu Segui

Tenor (+2)

Eetu Joukainen

Mezzo-soprano (+3)

Alicia Grünwald

Mezzo-soprano (+1)

Pauline Asmuth

Verena Kronbichler

Julia Werner

Chorus

Choir of the Bonn Theater

Extrachor of the Theater Bonn

Extras

Extras of the Theater Bonn

Orchestra

Beethoven Orchester Bonn

Opernhaus

Hans-Georg Priese

Augustin Moser

Tenor (+5)

Ralf Rachbauer

Kunz Vogelgesang

Samuel Levine

Ulrich Eisslinger

Chorister

Leon Juurlink

Tianji Lin

Paul Skalicki

Costume designer

Set designer (+3)

Okarina Peter

Set designer

Timo Dentler

Lighting designer

Max Karbe

Jorge Delgadillo

Dramaturge

Dramaturge (+1)

Polina Sandler

Choreographer

Choreographer (+1)

Sabine Arthold

Assistant Stage Director

Alma Gentile

Assistant Conductor

Conductor

Hermes Helfricht

Assistant Set Designer

Set designer (+1)

Ansgar Baradoy

Assistant Costume Designer

Assistant Set Designer (+2)

Margarita Bock

Ján Rusko

Conductor (+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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