Admin

Staatsoper Hamburg

Stage director

Stage director (+3)

Stefan Herheim

Set designer

Set designer (+2)

Christof Hetzer

Costume designer

Costume designer (+2)

Gesine Völlm

Video

Video (+1)

Fett Film

Dramaturge

Dramaturge (+1)

Alexander Meier-Dörzenbach

Conductor

Nicholas Carter

Chorusmaster

Chorusmaster (+1)

Christian Günther

Soprano (+3)

Olga Peretyatko

The Countess of Almaviva

Soprano (+2)

Katharina Konradi

Susanna

Bass (+4)

Chao Deng

Figaro

Julia Lezhneva

Cherubino

Mezzo-soprano (+4)

Claire Gascoin

Marcelline

Tenor (+3)

Peter Galliard

Basilio

Tenor (+4)

Jürgen Sacher

Don Curzio

Orchestra

Philharmonic State Orchestra Hamburg

Hamburgische Staatsoper

Bass-baritone (+3)

Keith Klein

Antonio

Soprano

Marie Maidowski

Barbarina

Baritone (+2)

Kartal Karagedik

The Count of Almaviva

Chorus

Hamburg State Opera Choir

Lighting designer

Andreas Hofer

Bass (+2)

Han Kim

Bartolo

During times of historical upheaval, the victors are filled with euphoric jubilation while fear spreads on the side of the losers. When cheerfulness grips the figures in Mozart’s piece, it is the swan song, full of schadenfreude, of dying structures, ancient privileges and traditional manners – including those between man and woman. Mozart (and Beaumarchais) hold the balance on the threshold between eras – as artists en route to self-marketing, as portraitists of their times, by precisely rendering a society whose balance is shifting, making Almaviva a ridiculous figure. His class is losing political power, and he compensates for this loss by becoming a slave to his sexual desire. The wind is blowing from the past, giving wing to Walter Benjamin’s angel of history. It is a storm for the winners, and for the losers a mere melancholy breeze. The angel sees nothing but ruins.

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