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Opera on WNED Classical

Enjoy complete performances of world famous operas from Verdi, Puccini, Mozart and many more Saturdays at 1pm.

 

For many years, radio broadcasts from "The Metropolitan Opera" have been a Saturday tradition in many American households. Met Opera broadcasts are usually performed live from Lincoln Center in New York City and can be heard from December through May on WNED Classical.    

The WFMT Radio Network Opera series complements the Metropolitan Opera Broadcasts, filling in the schedule to complete the year. From Milan to New York, Barcelona to Chicago, you'll have  a front-row seat to performances from some of the world’s greatest opera companies and performers.

Listen Live: Classical 94.5 WNED FM

2024 WFMT Radio Network Opera Series | Saturdays at 1pm 

From Milan to New York, Barcelona to Chicago, WFMT gives you a front-row seat to performances from some of the world’s greatest opera companies and performers. 

The 2024 WFMT Radio Network Opera Series, runs June 12 through November 30, 2024. This first portion of the season spans through September 7, and features thrilling performances from many of the great opera houses and theaters of Vienna, France, London, Italy, and more, with world-renowned artists. 

Broadcasts can be heard on WNED Classical at 1pm every Saturday except as noted.

 

Tune in at 94.5 FM in Buffalo or anywhere in the world our website's live player or WNED Classical app.

 

See what’s coming up below:

June 15 | Guillaume Tell / Rossini / Vienna State Opera 

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The 2024 series commences with Gioachino Rossini’s Guillaume Tell at the Vienna State Opera. This production stars Roberto Frontali in the title role of the Swiss folk hero, with John Osborn as Arnold and Lisette Oropesa starring as Mathilde. Under the skilled direction of Bertrand de Billy, the Vienna State Opera Orchestra and Chorus deliver a riveting performance of Rossini’s final opera, which tells the story of Tell’s fight for Swiss freedom.  

With his last stage work, Guillaume Tell, which premiered in 1829, Rossini created a completely new score for Paris, which became one of the most decisive contributions to the newly emerging genre of grand opéra. In addition to the fight for freedom, Rossini was also interested in the depiction of landscape and natural events, which are repeatedly interwoven with the plot elements. Beginning in the multi-part overture, and most clearly in the fourth and final act, in which the violent storm symbolizes the outbreak of the uprising and the shooting of the hated tyrant Gesler, as well as the subsequent clearing of the sky for the freedom that has been won. In the concluding hymn, both poles, the struggle for freedom and nature, finally experience a cathartic fusion. 

 

 

Composer :  Gioachino Rossini 

Libretto:  Victor-Joseph Étienne de Jouy 

Venue: Vienna State Opera House, Vienna 

Presenting Company:  Vienna State Opera 

 

CAST: 

Guillaume Tell: Roberto Frontali 

Arnold: John Osborn 

Mathilde: Lisette Oropesa 

Jemmy: Maria Nazarova 

Gesler: Jean Teitgen 

Ruodi: Iván Ayón Rivas 

Walter Furst: Stephano Park 

Melcthal: Evgeny Solodovnikov 

Rodolphe: Carlos Osuna 

Leuthold: Nikita Ivasechko 

Hedwige: Monika Bohinec 

A hunter: Ferdinand Pfeiffer 

 

Ensemble:  Vienna State Opera Orchestra and Chorus 

Conductor:  Bertrand de Billy 

June 22 | Die Frau ohne Schatten / Strauss / Vienna State Opera 

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We will stay in Vienna to hear Richard Strauss’s Die Frau ohne Schatten. With Andreas Schager, Elza van den Heever, and Tanja Ariane Baumgartner leading the cast, and Christian Thielemann at the helm, audiences will be transported into the heart of a mystical narrative. This opera, renowned for its intricate psychological depth and lavish score, weaves a tale of a fairy empress on a quest to gain a shadow—symbolizing her desire for motherhood and human connection. 

In the fairy-tale opera Die Frau ohne Schatten, Richard Strauss and Hugo von Hofmannsthal pose the simple yet difficult question of how to live a meaningful life: Should the focus be on one’s own personal happiness or on empathizing with others? To find the answer, the authors send their stage characters through trials. We hear a story of the Emperor, who shoots a gazelle while out hunting. Then, the gazelle transforms into a young woman; who he falls in love with her and marries. She is the daughter of the Spirit King Keikobad. However, she must cast a shadow within twelve months or the Emperor will turn to stone and the Empress will have to return to her father. Finally, there are just three days left. The image of the shadow stands for humanity. The happy conclusion is a rousing final cheer: “Now I will rejoice as no one has rejoiced!” 

 

 

Composer :  Richard Strauss 

Libretto:  Hugo von Hofmannsthal 

Venue:   Vienna State Opera House, Vienna 

Presenting Company:  Vienna State Opera 

 

CAST: 

The Emperor: Andreas Schager 

The Empress: Elza van den Heever 

The Nurse: Tanja Ariane Baumgartner 

The Messenger of Keikobad: Clemens Unterreiner 

Barak: Michael Volle 

The Dyer's Wife: Elena Pankratova 

The Guardian of the Threshold/Voice of a Falcon: Maria Nazarova 

Apparition of a Youth: Jörg Schneider 

Voice from Above: Stephanie Maitland 

The One-eyed Man: Martin Hässler 

The One-armed Man: Evgeny Solodovnikov 

The Hunchback: Thomas Ebenstein 

 

Ensemble:  Vienna State Opera Orchestra and Chorus 

Conductor:  Christian Thielemann 

June 29 | The Fairy Queen / Purcell / Les Arts Florissants 

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We travel to the Netherlands for Henry Purcell’s The Fairy Queen, performed by Les Arts Florissants as part of the Utrecht Early Music Festival. This production, conducted by William Christie, features a dynamic cast including Paulina Francisco and Georgia Burashko. A baroque interpretation of Shakespeare’s A Midsummer Night’s Dream, this semi-opera combines Purcell’s exquisite music with spoken drama and dance, celebrating the enchantment and complexities of love in a fantastical setting. 

Feel free to call it a gala, this evening of opera. One: with William Christie and Les Arts Florissants, there is early music royalty on stage. Two: the already legendary eminences bring the stars of the future with them – 11 young singers building their way to the top in Christie’s opera academy Le Jardin des Voix. Three: the music of Purcell, the Orpheus Britannicus who pretty much single-handedly colored the picture of the English Baroque. 

The Fairy Queen is perhaps Purcell’s best-loved work and at the same time also an ode to William Shakespeare. His A Midsummer Night’s Dream is fitted with a Baroque twist, a century after the fact. Power, refinement, melancholy, and humor: this gem has lost nothing of its enchantment. 

 

 

Composer :  Henry Purcell 

Libretto:  anonymous; adaptation of William Shakespeare's A Midsummer Night's Dream 

Venue: Utrecht Early Music Festival, Netherlands 

Presenting Company:  Les Arts Florissants Vienna State Opera 

 

CAST: 

Soprano: Paulina Francisco 

Mezzo-Soprano: Georgia Burashko 

Mezzo-Soprano: Rebecca Leggett 

Mezzo-Soprano: Juliette Mey 

Tenor: Rodrigo Carreto 

Tenor: Iljia Aksionov 

Baritone: Hugo Herman-Wilson 

Bass-Baritone: Benjamin Schilperoort 

 

Ensemble:  Les Arts Florissants; Le Jardin des Voix 

Conductor:  William Christie

July 6 | Don Giovanni / Mozart / Opéra de Lille 

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Mozart’s outrageous comedy tells the tale of an incorrigible young playboy who blazes a path to his own destruction in a single day. Based on the story of Don Juan, Don Giovanni follows an irresistible (yet irresponsible and amoral) youth who is loved by women almost as universally as he loves them. It doesn’t take long before the audience sees that even Don Giovanni cannot escape the consequences of his flouting of conventional morality. 

Opéra de Lille presents Mozart’s Don Giovanni, featuring Timothy Murray as the licentious nobleman Don Giovanni, alongside James Platt as the Commendatore and Emőke Baráth as his daughter Donna Anna. Emmanuelle Haïm leads the Lille Opera Chorus and Le Concert d’Astrée in this timeless tale of seduction and retribution. 

 

 

Composer :  Wolfgang Amadeus Mozart 

Libretto:  Lorenzo Da Ponte    

Venue:   Opéra de Lille, France 

Presenting Company:  Opéra de Lille 

 

CAST: 

Don Giovanni: Timothy Murray 

Il Commendatore: James Platt 

Donna Anna: Emőke Baráth 

Don Ottavio: Eric Ferring 

Donna Elvira: Chiara Skerath 

Leporello: Vladyslav Buialskyi 

Masetto Sergio: Villegas Galvain 

Zerlina: Marie Lys 

 

Ensemble:  Lille Opera Chorus, Le Concert d'Astrée 

Conductor:  Emmanuelle Haïm 

July 13 | Das Rheingold / Wagner / Royal Opera 

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© 2023 ROH Photo by Monika Rittershaus

We’re in London for the majestic story of Das Rheingold, from the Royal Opera House, Covent Garden. Christopher Maltman is Wotan, the god of battle, Christopher Purves sings Alberich, with Sean Panikkar as Loge. Sir Antonio Pappano conducts the first of the four chapters that make up Wagner’s Ring Cycle.  

When a precious hoard of gold is stolen from the river Rhine, it unleashes a chain of destructive events, pitting gods and mortals against one another for generations. Wagner’s Ring cycle boasts some of the greatest music ever written for the opera stage. Join us as we embark on a spectacular journey into the world of myth, dream and memory, with the figure of Erda – Mother Earth herself – at its center. 

 

 

Composer :  Richard Wagner 

Libretto:  Richard Wagner 

Venue:   Royal Opera House, Covent Garden 

Presenting Company:  Royal Opera 

 

CAST: 

Wotan: Christopher Maltman 

Alberich: Christopher Purves 

Loge: Sean Panikkar 

Fricka: Marina Prudenskaya 

Freia: Kiandra Howarth 

Erda: Wiebke Lehmkuhl 

Donner: Kostas Smoriginas 

Froh: Rodrick Dixon 

Mime: Brenton Ryan 

Fasolt: In-Sung Sim 

Fafner Soloman Howard 

Woglinde: Katharina Konradi 

Wellgunde: Niamh O'Sullivan 

Flosshilde: Marvic Monreal 

 

Ensemble:  Orchestra and Chorus of the Royal Opera House, Covent Garden 

Conductor:  Sir Antonio Pappano 

July 20 | Elektra / Strauss / Royal Opera

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© ROH 2024. Photo by Tristram Kenton.

We will stay at Covent Garden for our next broadcast, Elektra by Richard Strauss. Aušrinė Stundytė takes the lead, with notable performances by Sara Jakubiak as Elektra’s sister Chrysothemis, and Karita Mattila sings the role of their mother in this intense drama. 

We hear a performance with a score memorably described by one critic as ‘the colour of blood’, Richard Strauss’s audacious Elektra, an adaptation of the iconic Greek tragedy has shocked and excited audiences since its 1909 premiere.  

Klytämnestra plotted with her lover Ägisth to murder her husband King Agamemnon. Her daughter Elektra sent her brother Orest away to protect him. She is now an outcast in her mother’s home, and her unkempt appearance and repeated honoring of her dead father provoke Klytämnestra’s anger. Elektra longs only for revenge. Her sister Chrysothemis is desperate to escape from the palace. Klytämnestra is wracked with guilt and Elektra tells her it will only be assuaged by the queen’s own violent death. News comes that Orest is dead. Then a mysterious man arrives at the court. Elektra recognizes the man as her brother, Orest. She is overjoyed. Orest begins to take his vengeance by brutally murdering his mother. Ägisth arrives, unaware of what is happening. Orest strikes him down too. Orest is acclaimed by the court and Elektra finally performs her dance of triumph, which has its own deadly conclusion. Grief turns into a violent quest for revenge. King Agamemnon has been murdered by his wife Klytämnestra and her lover, Ägisth. Princess Chrysothemis urges caution, but her sister, Elektra, cannot rest until she has killed her own mother. 

 

 

Composer :  Richard Strauss 

Libretto:  Hugo von Hofmannsthal 

Venue:   Royal Opera House, Covent Garden 

Presenting Company:  Royal Opera 

 

CAST: 

Elektra: Aušrinė Stundytė 

Chrysothemis: Sara Jakubiak 

Klytämnestra: Karita Mattila 

Orest: Łukasz Goliński 

Aegisth: Charles Workman 

Orest's tutor: Michael Mofidian 

First maid: Noa Beinart 

Second maid: Veena Akama-Makia 

Third maid: Gabrielė Kupšytė 

Fourth maid: Ella Taylor 

Fifth maid: Valentina Puskás 

An overseer: Lee Bisset 

A young servant: Michael Gibson 

An old servant: Jeremy White 

Confidante: Marianne Cotterill 

Trainbearer: Amanda Baldwin 

 

Ensemble:  Orchestra and Chorus of the Royal Opera House, Covent Garden 

Conductor:  Sir Antonio Pappano 

July 27 | Médée / Charpentier / Opéra de Paris 

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The opulent Palais Garnier in Paris is the location of our next broadcast, where we hear Médée by 18th-century composer Marc-Antoine Charpentier. This opera delves into the dark and tragic tale of Médée, portrayed by Lea Desandre, who uses her sorceress powers in vengeful acts against her unfaithful lover, Jason, played by Reinoud Van Mechelen. Conducted by William Christie, this production from Opéra de Paris offers a riveting exploration of love, betrayal, and revenge, weaving a powerful emotional tapestry that is both captivating and heart-wrenching. Director David McVicar transposes the action to the Second World War, thus reinforcing the heroine’s tragic character. 

Possibly mythology’s most unfathomable character: Médée, the sorceress, betrayed by her husband Jason, takes revenge by offering the latter’s lover a poisoned dress and then killing her own children. Such a destiny, so often portrayed in the arts, could not but be embodied at the Opera. 

 

 

Composer : Marc-Antoine Charpentier 

Libretto: Thomas Corneille 

Venue: Opéra Garnier, Paris 

Presenting Company: Opéra de Paris 

 

CAST: 

Médée: Lea Desandre 

Jason Reinoud: Van Mechelen 

Créon: Laurent Naouri 

Créuse: Ana Vieira Leite 

Oronte: Gordon Bintner 

Nérine: Emmanuelle de Negri 

Cléone: Elodie Fonnard 

Arcas: Lisandro Abadie 

Amour (Love): William Christie 

 

Ensemble: Les Arts Florissants; Opéra de Paris 

Conductor: Sir Antonio Pappano 

 

August 3 | Damnation of Faust / Berlioz / French National Orchestra 

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The Orchestre National de France presents a gripping production of the Damnation of Faust by Hector Berlioz to the Théâtre des Champs-Elysées. Berlioz explores Faust’s existential despair, his pact with the devil, and his tragic descent into hell in profound music that contemplates the human condition, blending elements of love, ambition, and the supernatural into an unforgettable spectacle. John Irvin sings the title role, with Stéphanie d’Oustrac as Marguerite. This performance features Chœur de Radio France and is under the direction of Cristian Măcelaru. 

Berlioz’s The Damnation of Faust undoubtedly belongs to that category of work that seems to be suspended in time. Berlioz took almost twenty years to complete this dramatic legend and visionary poem akin to both a grand opera (which it subsequently became) and a symphonic poem (a form in which the French musician’s mastery rivaled that of Strauss). Instantly captivated by Gérard de Nerval’s translation of Goethe’s Faust, Berlioz was haunted for many years by the idea of setting the legend to music. From the plains of Hungary to Faust’s study, and from the banks of the Elbe to Marguerite’s bedchamber, this work is a major example of the Romantic aesthetic.  

 

 

Composer: Hector Berlioz  

Libretto: Hector Berlioz, Almire Gandonnière, Gérard de Nerval  

Venue: Théâtre des Champs-Elysées, Paris  

Presenting Company: Orchestre National de France  

 

CAST:  

Marguerite: Stéphanie d'Oustrac  

Faust: John Irvin  

Brander: Frédéric Caton  

Méphistophélès: Paul Gay and Claudine Margely, soprano  

 

Ensemble: Chœur de Radio France and Orchestre National de France  

Conductor: Cristian Măcelaru 

August 10 | Don Carlo / Verdi / La Scala 

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Brescia e Amisano © Teatro alla Scala

Don Carlo returns to the Teatro alla Scala in a big production that reflects the dual nature of historical drama and romantic manifesto of Schiller’s original, highlighting the extraordinary artists and craftsmen working in the Theatre’s workshops. A unique stage set is transformed without interrupting the unfolding of the action in the different spaces provided by the libretto thanks to the spectacular alternation of colossal scenic elements. 

Verdi proposes the themes dear to him of the freedom of feelings, the difficult relationship between fathers and sons, and the liberation of oppressed people against the backdrop of the conflict between temporal and religious power. 

The opera will be conducted by the Music Director Riccardo Chailly on the podium of the Teatro alla Scala Orchestra with a cast that features Francesco Meli as Don Carlo, Anna Netrebko as Elisabetta di Valois, Michele Pertusi as Filippo II, Elīna Garanča as Principessa d’Eboli, Luca Salsi as Marchese di Posa and Ain Anger as Grande Inquisitore. An equally important protagonist is the Teatro alla Scala Choir directed by Alberto Malazzi. 

 

 

Composer: Giuseppe Verdi  

Libretto: Joseph Méry, Camille du Locle  

Venue: Teatro alla Scala, Italy (Milan)  

Presenting Company: La Scala  

 

CAST:  

Don Carlo: Francesco Meli  

Elisabeth di Valois: Anna Netrebko  

Filippo II: Michele Pertusi  

Princess Eboli: Elīna Garanča  

Rodrigo: Luca Salsi  

Grand Inquisitor: Ain Anger  

A Monk: Jongmin Park  

Tebaldo: Elisa Verzier  

The Count of Lerma: Jinxu Xiahou  

A Voice from Heaven: Rosalia Cid  

 

Ensemble: La Scala Chorus and Orchestra  

Conductor: Riccardo Chailly 

August 17 | Rusalka / Dvořák / Opéra Royal de Wallonie 

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© JBerger

Opéra Royal de Wallonie, Liège, presents Rusalka, a captivating fairy tale steeped in Slavic mythology. This performance is conducted by Giampaolo Bisanti and explores Rusalka’s tragic love for a human prince and her desperate quest for a soul. Corinne Winters sings the title role of the water nymph Rusalka, with Anton Rositskiy and Jana Kurucová completing the principal cast. This lyrical journey, composed by Antonin Dvořák, weaves a tale of love that resonates long after the curtain falls. 

The poet and playwright Jaroslav Kvapil was inspired by the German romantic story of La Motte-Fouque, the Ondine, which was very successful throughout Europe. The Little Mermaid, a famous fairy tale by Hans Christian Andersen, was the most famous illustration. Antonín Dvořak, the most famous Czech composer, was looking for a libretto for his new opera. Kvapil proposed Rusalka, which immediately seduced the composer. In the spring of 1901, the magnificent and moving work immediately met with triumphant success and today is one of the most performed operas. 

A large part of the work was composed during the summer, in the countryside. Not far from his home, the composer often strolled around a lake that fascinated him. There he found, in imagining the undine and all the aquatic mythology, the inspiration and the atmosphere of his sublime drama. 

If the famous “Chant a la Lune” has become one of the favorite arias of romantic lyric art, the entire opera is worth a visit, happily playing with a sublime orchestration and masterfully highlighting a vocalist particularly adapted to each character. 

Rusalka, a water nymph, has fallen in love with a prince and wishes to become human. The witch Ježibaba performs a spell that forces the water nymph to remain mute. Tired of her silence, the prince turns away from her and falls in love with a foreign princess. When the Prince tries to repent, Rusalka confesses the effects of the spell and drags him under the water. 

 

 

Composer: Antonín Dvořák  

Libretto: Jaroslav Kvapil  

Venue: Opéra Royal de Wallonie, Liège  

Presenting Company: Opéra Royal de Wallonie  

 

CAST:  

Rusalka: Corinne Winters  

Prince: Anton Rositskiy  

Foreign Princess: Jana Kurucová  

Vodník: Evgeny Stavinsky  

Ježibaba: Nino Surguladze  

The Gamekeeper: Jiří Rajniš  

Turnspit / Kitchen boy: Hongni Wu  

First Wood Sprite: Lucie Kaňková  

Second Wood Sprite: Kateřina Hebelková  

Third Wood Sprite: Sofia Janelidze  

Hunter: Alexander Marev 

Harmonium: Maddalena Altieri  

 

Ensemble: Orchestra and Chorus of the Opéra Royal de Wallonie  

Conductor: Giampaolo Bisanti 

August 24 | Idomeneo / Mozart / Bavarian Radio Symphony Orchestra and Chorus 

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© BR-Astrid Ackermann

Hercules Hall in Munich is the location of a stunning performance of Mozart’s Idomeneo with the Bavarian Radio Symphony Orchestra and Chorus. Andrew Staples in the demanding title role, Sabine Devieilhe and Magdalena Kožená as the touching passionate lovers Ilia and Idamante, and Elsa Dreisig as the jealous, desperate Elettra. 

“I have an indescribable desire to write an opera once again,” Mozart’s wish, expressed in 1777, was finally fulfilled in the fall of 1780 when he received a commission from Munich to write a grand opera for the upcoming carnival season. The excellence of the Munich orchestra, and the subject matter involving the conflict between divine law and human passion, between duty and love, inspired Mozart to write one of his most elaborate and innovative stage works. Idomeneo has long been one of conductor Simon Rattle’s favorite pieces.  Mozart’s first operatic masterpiece gives Rattle the opportunity to work intensively with the chorus and to further deepen his involvement with historical performance practice in Munich. 

Summary courtesy of Bavarian Radio Symphony Orchestra. 

 

 

Composer: Wolfgang Amadeus Mozart  

Libretto: Giambattista Varesco  

Venue: Hercules Hall, Residenz, Munich  

Presenting Company: Bavarian Radio Symphony Orchestra and Chorus  

 

CAST:  

Idomeneo: Andrew Staples  

Idamante: Magdalena Kožená  

Elettra: Elsa Dreisig  

Ilia: Sabine Devieilhe  

Arbace / High Priest of Neptune: Linard Vrielink  

Voice of Neptune: Tareq Nazmi  

 

Ensemble: Bavarian Radio Symphony Orchestra and Chorus  

Conductor: Sir Simon Rattle 

August 31 | Tosca / Puccini / Bavarian State Opera

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There are few operas, which from the very first bar endure such intense pressure, few in which the temperature swings from ice-cold calculation to overheating in mere seconds. And scarcely any in which private entanglement and personal tragedy are so interwoven with political attitudes in historical accuracy. Giacomo Puccini’s Tosca has electrified audiences since its world premiere. The shock wave emitted by the opera was so strong that decades later many reactions still tend to point to the bewilderment and overpowering of those affected rather than the qualities of the piece itself. We will hear the Bavarian State Orchestra and Chorus conducted by Aziz Shokhakimov. 

The story surrounds a love triangle involving the singer Floria Tosca, played by Eleonora Buratto, the painter Mario Cavaradossi portrayed by Charles Castronovo and the chief of police Baron Scarpia played by Ludovic Tézier. The artistic world of the protagonist couple, Tosca and Cavaradossi, is no coloristic ingredient here, but rather defines the profile of its characters – it justifies Tosca’s eccentricity, just as it does Cavaradossi’s liberality and also explains the singer’s pronounced self-confidence: The heroine of the stage becomes a heroine in real life. 

 

 

Composer: Giacomo Puccini  

Libretto: Luigi Illica; Giuseppe Giacosa  

Venue: Das Nationaltheater, München  

Presenting Company: Bavarian State Opera  

 

CAST:  

Floria Tosca: Eleonora Buratto  

Mario Cavaradossi: Charles Castronovo  

Baron Scarpia: Ludovic Tézier  

Cesare Angelotti: Milan Siljanov  

Sacristan: Martin Snell  

Spoletta: Tansel Akzeybek  

Sciarrone: Christian Rieger  

A Jailer: Paweł Horodyski  

 

Ensemble: Bavarian State Opera Orchestra and Chorus  

Conductor: Andrea Battistoni 

September 7 | The Queen of Spades / Tchaikovsky / Bavarian State Opera 

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We hear another performance from this orchestra with a performance of The Queen of Spades on stage at The National Theater of Munich under the direction of Aziz Shokhakimov. This opera navigates the dark and obsessive tale of Hermann, performed by Brandon Jovanovich in a story of desire, gambling, and the supernatural. Asmik Grigorian and Roman Burdenko join in the performance of what some say is Tchaikovsky’s greatest work. 

Discover the secret, crack the code, get the key: What drives us to submit to the unknown, to forget what we originally felt and who we are? With The Queen of Spades, Alexander Pushkin presented a Russian variant of the Gothic novel in 1834. In it, his protagonist Hermann stares unblinkingly at the window, behind which Liza sits. While he tries to elicit the secret of the three cards from the Countess, whose ward Liza is, Liza mistakes his obsession for love. Pyotr I. Tchaikovsky stages the couple’s downfall all the more drastically in his opera, when, as the plot begins he has the possibility of a joyful life appear and allows the two to take the self-chosen path of estrangement and self-destruction into madness and death. 

 

 

Composer: Pyotr Ilyich Tchaikovsky  

Libretto: Modest Tchaikovsky  

Venue: Das Nationaltheater München  

Presenting Company: Bavarian State Opera  

 

CAST:  

Hermann: Brandon Jovanovich  

Count Tomsky: Roman Burdenko  

Prince Yeletsky: Boris Pinkhasovich  

Chekalinsky: Kevin Conners  

Surin: Bálint Szabó  

Chaplitsky: Tansel Akzeybek  

Narumov: Nikita Volkov  

Countess: Violeta Urmana  

Lisa: Asmik Grigorian  

Polina: Victoria Karkacheva  

Governess: Natalie Lewis  

 

Ensemble: Bavarian State Opera Chorus and Orchestra  

Conductor: Aziz Shokhakimov