Organization

Dirección orquestal

Michael Balke

Dirección de escena

Dirección de escena (+2)

Josef Ernst Köpplinger

Coreografía

Dirección de escena (+6)

Adam Cooper

Escenografía

Escenografía (+3)

Johannes Leiacker

Diseño de vestuario

Alfred Mayerhofer

Iluminación

Ralf Reitmaier

Video

Raphael Kurig

Meike Ebert

Dramaturgo

Dramaturgo (+2)

Michael Alexander Rinz

Staatstheater am Gärtnerplatz

Chorus

Chor des Staatstheaters am Gärtnerplatz

Children's Chorus of the Staatstheater am Gärtnerplatz

Orchestra

Orchester des Staatstheaters am Gärtnerplatz

Dirección orquestal (+3)

Oleg Ptashnikov

Tenor (+4)

Juan Carlos Falcón

La gran duquesa

Tenor (+3)

Daniel Prohaska

El Príncipe Pol

Tenor (+2)

Matteo Ivan Rasic

Fritz

Soprano

Julia Sturzlbaum

Wanda

Bajobarítono (+4)

Alexander Grassauer

El General Bum

Barítono (+2)

Gunnar Frietsch

El Conde Puck

Cantante (+5)

Alexander Franzen

El Baron Grog

Soprano (+4)

Sigrid Hauser

El Capitán Nepomuceno

Soprano (+2)

Ulrike Dostal

Ein Fremdenführer

Tenor (+5)

Peter Neustifter

Soldat Wenzel

Actor

Samuel Tobias Klauser

Soldat Urs

Luca Giaccio

Soldat Ladislaus

Bailarín

Giovanni Corrado

Soldat Rudi

Mikaël Champs

Soldat Georg

Alexander Quetell

Douglas Evangelista

Le soldat Krak

David Valencia

Soldat Heinz-Karl

Matthew Jared Perko

Soldat Balthasar

Ethan Ribeiro

Willer Gonçalves Rocha

Soldat Rüdiger

Bailarín (+1)

Alexander Hille

Gärtnerplatztheater

"Uniformis amor" – that's what people call a particularly strong preference for uniforms and their content. If a reigning head of state is affected by it, things can quickly become explosive: Within a few moments, a private becomes the commanding general, courtiers tremble for their influence, and wars are instigated at whim. But woe betide if the object of state-directing desire pursues completely different plans...!

At the peak of his career, Jacques Offenbach succeeded in producing no less than a brightly colored satire on militarism, favoritism, small states and provincialism with the operetta »The Grand Duchess of Gerolstein«, which he presented in 1867 as a kind of »cultural contribution« to the Paris World Exhibition. Using the example of a fictitious Grand Duchy, he and his librettists created a dazzling stage work including some of his most beautiful melodies, which is still more relevant today than ever in view of warmongering and abuse of power. After its acclaimed premiere in 2020 at the Dresden Semperoper, Josef E. Köpplinger's pointed production is now coming to Munich!

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