Arabella

Richard Strauss

Lyrical comedy in three acts
Libretto by Hugo von Hofmannsthal

From 14. April 2026 until 28. April 2026

  • Duration :
    3 H. Inkl. Pause after approx. 1 H.
  • Language:
    In German with German and English surtitles.
  • More information:
    Introduction 45 min before the performance.

Music Direction:
Markus Poschner

Markus Poschner

Markus Poschner wirkte nach dem Studium in München sowie nach Assistenzen bei Sir Roger Norrington und Sir Colin Davis zunächst als 1. Kapellmeister an der Komischen Oper Berlin. Von 2007 bis 2017 war er GMD der Bremer Philharmoniker. 2010 ernannte ihn die Universität Bremen zum Honorarprofessor, ebenso die Anton-Bruckner-Universität in Linz im Jahre 2020. Mit dem Orchestra della Svizzera italiana, dessen Chefdirigent Markus Poschner seit 2015 ist, gewann er den «InternationalClassicalMusicAward 2018» für seine Aufnahme der Brahms-Sinfonien. Seit 2017 als Chefdirigent des Bruckner Orchester Linz tätig, gewann Markus Poschner 2020 die Auszeichnung «Dirigent des Jahres» sowie «Orchester des Jahres» in Österreich. 2024 kam der «Special Achievement Award» der Jury des «InternationalClassicalMusicAward» für die Gesamtausgabe der Bruckner-Symphonien hinzu. Seit seiner Auszeichnung mit dem «Deutschen Dirigentenpreis» gastiert Poschner u.a. bei der Staatskapelle Dresden, Staatskapelle Berlin, den Münchner und Dresdner Philharmonikern, dem Konzerthausorchester Berlin, dem RSB Berlin und dem RSO Wien, den Wiener Symphonikern, dem Orchestre National de France, dem Orchestre Philharmonique de Radio France, den Netherlands Philharmonic, dem Antwerp Symphony Orchestra, NHK Tokio, dem Utah und dem Dallas Symphony Orchestra sowie an der Staatsoper Berlin, der Wiener Staatsoper, der Hamburgischen Staatsoper, der Oper Frankfurt, der Staatsoper Stuttgart und am Opernhaus Zürich. 2022 eröffnete Markus Poschner mit Tristan und Isolde die Bayreuther Festspiele und kehrte im Sommer 2023 ebenfalls für Tristan nach Bayreuth zurück. Ab der Spielzeit 2025/26 ist Markus Poschner ausserdem Chefdirigent des Sinfonieorchesters Basel.

Arabella14 / 18 / 22 / 25 / 28 Apr 2026
Producer:
Robert Carsen

Robert Carsen

Robert Carsen, geboren in Kanada, absolvierte eine Ausbildung als Schauspieler an der York University in Toronto und an der Bristol Old Vic Theatre School. Erste Erfolge als Regisseur hatte er Mitte der achtziger Jahre an den Opernhäusern in Genf und Paris, wo Intendant Hugues Gall ihn förderte. International Furore machten Anfang der neunziger Jahre seine Puccini- und Janáček-Zyklen in Antwerpen. Es folgten Arbeiten an allen grossen Bühnen der Welt. Seine Opernproduktionen umfassen Dialogues des Carmélites (Amsterdam, La Scala, Royal Opera, u.a.), Manon Lescaut (Wiener Staatsoper), A Midsummer Night’s Dream (Aix), Rusalka, Tannhäuser u.a. (Paris), Don Giovanni (Mailand), Falstaff, Der Rosenkavalier (Royal Opera, MET u.a.), The Turn of the Screw, Agrippina, Wozzeck u.a. (Theater an der Wien), Rinaldo, L’incoronazione di Poppea (Glyndebourne), La traviata (Venedig), Der Ring des Nibelungen (Köln, Barcelona, u.a.), Siegfried und Idomeneo (Madrid), Il trionfo del tempo e del disinganno (Salzburger Festspiele), Die tote Stadt (Komische Oper Berlin) sowie Oceane von Detlef Glanert (Deutsche Oper Berlin). Zudem inszeniert er Theater und Musicals: My Fair Lady, Singin’ in the Rain (Théâtre du Châtelet, Mariinsky Theatre, Chicago u.a.) und wirkte als Kurator und Szenograph für Ausstellungen u.a. im Grand Palais und im Musée d’Orsay, an der Royal Academy of Arts sowie am Art Institute of Chicago. Er ist Officier des Arts et des Lettres und Officer of the Order of Canada. Zudem erhielt er zahlreiche Preise, zuletzt den International Opera Award 2021 als «Bester Regisseur». In Zürich inszenierte er Lucia di Lammermoor, Tosca, Semele, Pique Dame, Hänsel und Gretel und Arabella.

Tosca28 Sept / 2 / 8 / 11 / 15 / 19 Oct 2025 Arabella14 / 18 / 22 / 25 / 28 Apr 2026
Stage and costume design:
Gideon Davey

Gideon Davey

Gideon Davey, geboren in Bristol, ist Kostüm- und Bühnenbildner für Theater, Film und Fernsehen. Eine enge Zusammenarbeit verbindet ihn mit den Regisseuren David Alden und Robert Carsen. Zudem wirkte er u.a. in Produktionsteams von Andreas Homoki, Jetske Mijnssen, Floris Visser, Stephen Lawless und Jasmina Hadziahmetovic mit. Seine Kostüme für David Aldens Inszenierung von Il ritorno d’Ulisse in patria an der Staatsoper in München brachten ihm die Auszeichnung «Kostümbildner des Jahres 2005» der Zeitschrift Opernwelt ein. Zu seinen Arbeiten gehören WozzeckAgrippina und Platée am Theater an der Wien mit Robert Carsen, Luisa Miller an der Staatsoper Hamburg mit Andreas Homoki, Semele bei den Händel-Festspielen Karlsruhe mit Floris Visser, Alfredo Catalanis Loreley am Theater St. Gallen und Pique Dame an der English National Opera mit David Alden sowie Luigi Rossis Orfeo an der Opéra national de Lorraine mit Jetske Mijnssen. Am Opernhaus Zürich entwarf er bisher das Kostüm- bzw. Bühnenbild für Das Gespenst von Canterville, Robin Hood, Der Zauberer von OzIdomeneo, ArabellaHippolyte et Aricie, Maria Stuarda, Hänsel und Gretel, Anna Bolena, Dialogues des Carmélites und Roberto Devereux. Er schuf die Kostüme für Aldens Lohengrin am Royal Opera House London, Bühne und Kostüme für Carsens Giulio Cesare an der Scala in Mailand und 2021 Bühne und Kostüme für Il trionfo del Tempo e del Disinganno bei den Salzburger Festspielen. Jüngst war er an der Mailänder Scala für Peter Grimes, an der Deutschen Oper Berlin für Anna Bolena, an der Oper Halle für Il barbiere di Siviglia sowie an der Oper Köln für Idomeneo engagiert.

Carmen18 / 21 / 23 / 27 / 31 Jan 2026 Arabella14 / 18 / 22 / 25 / 28 Apr 2026
Lighting designer:
Robert Carsen,

Robert Carsen

Robert Carsen, geboren in Kanada, absolvierte eine Ausbildung als Schauspieler an der York University in Toronto und an der Bristol Old Vic Theatre School. Erste Erfolge als Regisseur hatte er Mitte der achtziger Jahre an den Opernhäusern in Genf und Paris, wo Intendant Hugues Gall ihn förderte. International Furore machten Anfang der neunziger Jahre seine Puccini- und Janáček-Zyklen in Antwerpen. Es folgten Arbeiten an allen grossen Bühnen der Welt. Seine Opernproduktionen umfassen Dialogues des Carmélites (Amsterdam, La Scala, Royal Opera, u.a.), Manon Lescaut (Wiener Staatsoper), A Midsummer Night’s Dream (Aix), Rusalka, Tannhäuser u.a. (Paris), Don Giovanni (Mailand), Falstaff, Der Rosenkavalier (Royal Opera, MET u.a.), The Turn of the Screw, Agrippina, Wozzeck u.a. (Theater an der Wien), Rinaldo, L’incoronazione di Poppea (Glyndebourne), La traviata (Venedig), Der Ring des Nibelungen (Köln, Barcelona, u.a.), Siegfried und Idomeneo (Madrid), Il trionfo del tempo e del disinganno (Salzburger Festspiele), Die tote Stadt (Komische Oper Berlin) sowie Oceane von Detlef Glanert (Deutsche Oper Berlin). Zudem inszeniert er Theater und Musicals: My Fair Lady, Singin’ in the Rain (Théâtre du Châtelet, Mariinsky Theatre, Chicago u.a.) und wirkte als Kurator und Szenograph für Ausstellungen u.a. im Grand Palais und im Musée d’Orsay, an der Royal Academy of Arts sowie am Art Institute of Chicago. Er ist Officier des Arts et des Lettres und Officer of the Order of Canada. Zudem erhielt er zahlreiche Preise, zuletzt den International Opera Award 2021 als «Bester Regisseur». In Zürich inszenierte er Lucia di Lammermoor, Tosca, Semele, Pique Dame, Hänsel und Gretel und Arabella.

Tosca28 Sept / 2 / 8 / 11 / 15 / 19 Oct 2025 Arabella14 / 18 / 22 / 25 / 28 Apr 2026
Peter van Praet

Peter van Praet

Peter van Praet stammt aus Belgien. Mit Robert Carsen verbindet den Lichtdesigner eine langjährige Zusammenarbeit, so entstanden mit ihm Arbeiten wie Jenůfa, Katja Kabanowa und Battisellis Richard III an der Vlaamse Opera, Rusalka und Capriccio an der Pariser Opéra, Fidelio in Amsterdam und Florenz, Tosca in Barcelona, Der Rosenkavalier bei den Salzburger Festspielen, The Turn of the Screw am Theater an der Wien, Rinaldo am Glyndebourne Festival, Candide an der Scala in Mailand und Iphigénie en Tauride sowie Falstaff und Der Rosenkavalier am Royal Opera House in London, Don Giovanni an der Mailänder Scala, Die tote Stadt an der Komischen Oper Berlin und die Uraufführung von Detlev Glanerts Oceane an der Deutschen Oper Berlin. Er arbeitet zudem regelmässig als Lichtdesigner für die Theatergruppe «La Fura dels Baus» mit der er u.a. Der Ring des Nibelungen und Le Grand Macabre erarbeitete. Mit Valentina Carrasco entstanden ausserdem Carmen und Les Vêspres siciliennes an der Oper in Rom sowie Der Ring des Nibelungen am Teatro Colón in Buenos Aires und mit Christophe Coppens Das schlaue Füchslein und Herzog Blaubarts Burg in Kombination mit Der wunderbare Mandarin an der Monnaie in Brüssel.

Arabella14 / 18 / 22 / 25 / 28 Apr 2026
Choreography:
Philippe Giraudeau

Philippe Giraudeau

Philippe Giraudeau studierte Tanz in seiner Heimatstadt La Rochelle und war als Tänzer in Frankreich tätig, bevor er dem London Contemporary Dance Theatre und der Second Stride Dance Company beitrat. 1988 gewann er den London Dance and Performance Award. Zu seinen Arbeiten als Choreograf in Opernproduktionen zählen u. a. Ein Sommernachtstraum und Die lustige Witwe und Der Rosenkavalier für die Metropolitan Opera New York, Aus einem Totenhaus, Boris Godunow und Les Troyens für die English National Opera und Der fliegende Holländer und The Minotaur für Covent Garden. Während seiner langjährigen Zusammenarbeit mit Robert Carsen choreografierte Philippe Giraudeau u.a. Semele, Das schlaue Füchslein und Katja Kabanowa an der Vlaamse Opera, Dialogues des Carmélites und Don Giovanni für die Scala, Les Contes d’Hoffmann, Alcina und Rusalka an der Opéra in Paris, La traviata für La Fenice, Elektra in Tokyo, Manon Lescaut in Wien, Iphigénie en Tauride in Chicago, Salome in Turin, Rinaldo für Glyndebourne, Die Liebe zu den drei Orangen an der Deutschen Oper in Berlin, Rigoletto in Aix-en-Provence, Aus einem Totenhaus in Strassburg und Il trovatore für die Bregenzer Festspiele. Ausserdem ist Philippe Giraudeau verantwortlich für Choreografien in Opernproduktionen von Richard Jones, Rolando Villazón, Antony McDonald, Stephen Langridge, John Fuljames, Tim Albery, Waut Koeken und Bruno Ravella.

Arabella14 / 18 / 22 / 25 / 28 Apr 2026
Choreographic producer:
Arturo Gama

Arturo Gama

Arturo Gama studierte Schauspiel und Theaterwissenschaft an der Universität in Mexiko City und absolvierte gleichzeitig eine Ausbildung in Ballett und Modernem Tanz am Instituto Nacional de Bellas Artes. Nach einem Gastengagement als Tänzer beim London City Ballet wurde er Mitglied des Tanztheaters der Komischen Oper Berlin, wo er ab 1996 als Solotänzer engagiert war. Seine Tänzerkarriere beendete er 2001 und wurde zunächst persönlicher Mitarbeiter von Harry Kupfer, u. a. bei dessen Inszenierung von Schoecks Penthesilea am Teatro del Maggio Musicale Fiorentino. Danach folgte ein Festengagement als Regieassistent und Abendspielleiter an der Komischen Oper Berlin unter der Intendanz von Andreas Homoki. Hier arbeitete er mit Harry Kupfer, Willy Decker, David Alden, Calixto Bieito, Peter Konwitschny und Hans Neuenfels. Sein Regiedebüt gab er 2003 mit L’Histoire du soldat von Igor Strawinsky an der Komischen Oper Berlin. 2005 wurde er Oberspielleiter am Mecklenburgischen Staatstheater Schwerin. Dort inszenierte er u. a. Tosca, Gianni Schicchi, Madama Butterfly, Roméo et Juliette, Die Grossherzogin von Gérolstein, Hänsel und Gretel, Lucia di Lammermoor, Così fan tutte, Die Zauberflöte, Herzog Blaubarts Burg, Der fliegende Holländer und Tannhäuser. Seit 2012 ist er freischaffender Regisseur und Choreograf. Als Gastregisseur arbeitete er am Petersburger Mariinsky Theater, Teatro Colón in Buenos Aires und Teatro Nacional de Bellas Artes in Mexiko City. Mit Andreas Homoki erarbeitete er als Choreograf My Fair Lady an der Komischen Oper Berlin und in Zürich Das Land des Lächelns, Salome und Carmen. Seit 2020/21 ist er Spielleiter am Opernhaus Zürich.

Carmen18 / 21 / 23 / 27 / 31 Jan 2026 Arabella14 / 18 / 22 / 25 / 28 Apr 2026
Chorus Master:
Ernst Raffelsberger

Ernst Raffelsberger

Ernst Raffelsberger stammt aus Gmunden, Oberösterreich. Er studierte Musikpädagogik und Kirchenmusik an der Hochschule für Musik und darstellende Kunst in Wien (Chorleitung bei Prof. Erwin Ortner) und anschliessend Chordirigieren am Salzburger Mozarteum bei Prof. Walter Hagen-Groll. Von 1983 bis 1986 war er Kapellmeister der Wiener Sängerknaben. In dieser Zeit leitete er das Ensemble in Wien und auf Tourneen durch Europa, Südafrika, Kanada und die USA. Ab 1986 war Ernst Raffelsberger Chordirektor und Kapellmeister am Landestheater Salzburg (Mitwirkung bei der Salzburger Mozartwoche und den Salzburger Festspielen). 1989 wurde er von Donald Runnicles als Chordirektor und Kapellmeister an das Theater in Freiburg/Breisgau berufen. Seit Herbst 1993 ist Ernst Raffelsberger am Opernhaus Zürich als Chordirektor engagiert. Hier hat er inzwischen über 100 Premieren betreut und mit vielen namhaften Dirigenten wie Riccardo Chailly, Christoph von Dohnányi, Vladimir Fedoseyev, Sir John Eliot Gardiner, Daniele Gatti, Bernard Haitink, Nikolaus Harnoncourt, Zubin Mehta und Franz Welser-Möst zusammengearbeitet. Gastspiele mit dem Opernhaus Zürich führten ihn nach Wien, London, Paris und Tokio. Zahlreiche CD- und DVD-Aufnahmen dokumentieren diese Arbeit. Im Sommer 2012 begann zusätzlich seine Tätigkeit als Chordirektor der Salzburger Festspiele. Er ist dort für die Produktionen der Konzertvereinigung Wiener Staatsopernchor verantwortlich. In seiner ersten Festspielsaison kam es u. a. zu einer erfolgreichen Zusammenarbeit mit Riccardo Muti und Sir Simon Rattle.

Manon24 / 27 Sept / 3 / 7 / 10 Oct 2025 Tosca28 Sept / 2 / 8 / 11 / 15 / 19 Oct 2025 La clemenza di Tito26 / 29 Apr / 3 / 8 / 15 / 17 / 20 / 25 May 2026 Le nozze di Figaro24 / 29 Jan / 1 / 5 / 7 / 10 / 14 Feb 2026 Die Fledermaus7 / 10 / 12 / 14 / 18 / 26 / 28 / 31 Dec 2025 / 2 / 4 / 6 / 10 Jan 2026 Messa da Requiem20 / 22 / 28 Feb / 1 / 5 / 7 Mar / 6 Apr 2026 Arabella14 / 18 / 22 / 25 / 28 Apr 2026
Dramaturgy:
Ian Burton,

Ian Burton

Ian Burton, in Yorkshire geboren, ist Schriftsteller und Dramaturg. Seit 1987 arbeitet er mit Robert Carsen zusammen. Dabei entstanden unter anderem Candide von Bernstein am Théâtre du Châtelet in Paris, an der Mailänder Scala und der English National Opera, L’incoronazione di Poppea in Glyndebourne, Mitridate in Brüssel, Iphigénie en Tauride und Orfeo ed Euridice in Chicago sowie Tannhäuser in Tokio und an der Pariser Oper und Janáčeks Osud in Brünn. Seine Veröffentlichungen umfassen Bücher über Musik und Drama und acht Lyrik-Bände (darunter Dorset Street und Rouflaquettes). Er schrieb Stücke für die Bühne und für BBC Radio Three, in letzter Zeit auch Libretti. Darunter sind Richard III. nach Shakespeare für Giorgio Battistelli (uraufgeführt unter Robert Carsen in Antwerpen), The Duchess of Malfi für Torsten Rasch als Auftrag der English National Opera, eine Rockoper POP’PEA für Michael Torke (uraufgeführt 2012 am Théâtre du Châtelet in Paris) und JJR – Citoyen de Genève (Musik: Philippe Fénelon), 2012 in Genf aufgeführt. Battistelli – CO2 –wurde 2015 unter Robert Carsens Regie am Teatro alla Scala in Mailand uraufgeführt, eine neue Version der Beggar’s Opera ebenfalls unter Carsen folgte 2018 bei den Bouffes du Nord. Geplant ist u.a. Animal Farm für den Komponisten Alexander Raskatov in Amsterdam.

Arabella14 / 18 / 22 / 25 / 28 Apr 2026
Kathrin Brunner

Kathrin Brunner

Kathrin Brunner wurde in Zürich geboren. Sie studierte in ihrer Heimatstadt sowie an der Humboldt-Universität Berlin Germanistik, Musikwissenschaft und Französisch. Nach diversen Regiehospitanzen (u.a. Die Dreigroschenoper am Luzerner Theater; Regie: Vera Nemirova) und Dramaturgiehospitanzen ist sie seit 2008 Dramaturgin am Opernhaus Zürich. Hier arbeitete sie u.a. mit Regisseur:innen wie Achim Freyer (Moses und Aron), Harry Kupfer (Die Meistersinger von Nürnberg, Tannhäuser), Stephan Müller, Guy Joosten, Damiano Michieletto, Christof Loy (La straniera, Alcina, I Capuleti e i Montecchi, Don Pasquale, La rondine), Willy Decker (Il ritorno d'Ulisse in patria, The Turn of the Screw), Andreas Homoki (Wozzeck, Das Land des Lächelns, La forza del destino), Christoph Marthaler (Il viaggio a Reims, Orphée et Euridice), Barrie Kosky (Die Gezeichneten, Boris Godunow), Nadja Loschky, Nina Russi, Jan Essinger und Jetske Mijnssen (Idomeneo, Hippolyte et Aricie, Platée). Bei den Salzburger Festspielen 2012 erarbeitete sie La bohème mit Damiano Michieletto. Während der Corona-Pandemie war sie Co-Gründerin der Konzertreihe Altchemie live in der Alten Chemie Uetikon (https://www.altchemie.live).

Der Rosenkavalier21 / 26 Sept / 1 / 5 / 14 / 17 / 21 / 26 Oct 2025 Manon24 / 27 Sept / 3 / 7 / 10 Oct 2025 La clemenza di Tito26 / 29 Apr / 3 / 8 / 15 / 17 / 20 / 25 May 2026 Cardillac15 / 18 / 21 / 25 Feb / 1 / 6 / 10 Mar 2026 Carmen18 / 21 / 23 / 27 / 31 Jan 2026 Arabella14 / 18 / 22 / 25 / 28 Apr 2026

Cast

Graf Waldner Wolfgang Bankl


Adelaide Stephanie Houtzeel


Arabella Diana Damrau


Zdenka Erin Morley


Mandryka Michael Volle


Matteo Pavol Breslik


Graf Elemer Johan Krogius


Graf Dominik Felix Gygli


Graf Lamoral Brent Michael Smith


Die Fiakermilli Yewon Han


Eine Kartenaufschlägerin Irène Friedli


Ein Zimmerkellner Samuel Wallace


Welko Martin Zysset


Djura Mentor Bajrami

Jankel Nick Lulgjuraj

Stephanie Houtzeel

Stephanie Houtzeel, an American mezzo-soprano, was born in Kassel and raised in Boston. She studied at the Juilliard School in New York and is the recipient of several competition awards. She has appeared, among others, at the Semperoper Dresden, New York City Opera, Theater an der Wien, Opéra de Lyon, Opéra National du Rhin, Graz Opera, as well as at the Bayreuth and Salzburg Festivals. Since the 2010/11 season, she has been a member of the ensemble at the Vienna State Opera, where she has performed roles such as the Composer (Ariadne auf Naxos), Octavian (Der Rosenkavalier), Dorabella (Così fan tutte), Kreusa (Reimann’s Medea), and Orlofsky (Die Fledermaus). Her repertoire includes roles by Handel, Strauss, and Mozart. She sang Octavian (Der Rosenkavalier) at the Vienna State Opera, Opéra Bastille, the Kennedy Center with Renée Fleming, the New Israeli Opera, Deutsche Oper am Rhein, Graz Opera, and the Royal Opera in Copenhagen. For her interpretation of the Composer in Ariadne auf Naxos under Philippe Jordan, she was honored by the magazine Opernwelt as one of the best young singers. She has also performed this role in Vienna, Zurich, Tokyo, Cologne, Tel Aviv, and Antwerp. In doing so, she worked with, among others, Sir Jeffrey Tate, Franz Welser-Möst, Fabio Luisi, Adam Fischer, and Marek Janowski. As a concert singer, she has appeared at Lincoln Center New York, the Wiener Musikverein, Rome, Brussels, Washington, Amsterdam, Rotterdam, Leipzig, Novosibirsk, and Santiago de Compostela. Her recordings include Lully’s Armide, Suppé’s Fatinitza, and Mozart’s Requiem under Teodor Currentzis. In 2015, her song CD Nostalgia (works by Mahler, Ives, and Piazzolla) was released.

Arabella14 / 18 / 22 / 25 / 28 Apr 2026

Diana Damrau

Diana Damrau is a regular guest on the stages of the world’s leading opera and concert houses. Her extensive repertoire lies in the lyric and coloratura fach and includes, among others, the title roles in Donizetti’s Lucia di Lammermoor, Massenet’s Manon, as well as the Queen of the Night in Mozart’s The Magic Flute. She regularly performs at major venues such as the Bavarian State Opera, the Metropolitan Opera in New York, and La Scala in Milan. Specially composed for her were Iain Bell’s opera A Harlot’s Progress (Theater an der Wien, 2013) and Lorin Maazel’s 1984 (Royal Opera House, 2005). As an exclusive artist for Warner Classics/Erato, she has released numerous award-winning CD and DVD recordings. Diana Damrau is one of the most important lieder interpreters of our time. She regularly appears in renowned concert halls such as London’s Wigmore Hall, New York’s Carnegie Hall, and the Berlin Philharmonie. She maintains close artistic partnerships with pianist Helmut Deutsch and harpist Xavier de Maistre. In 2022, she will present a program of love songs by Brahms and Schumann in the most important concert halls of Europe together with Jonas Kaufmann and Helmut Deutsch. On the opera stage this season, she will still sing Anna Bolena at the Vienna State Opera and make her role debut as the Countess in Strauss’s Capriccio at the Bavarian State Opera. Diana Damrau is a Kammersängerin of the Bavarian State Opera, recipient of the Bavarian Maximilian Order for Science and Art, as well as the Federal Cross of Merit of the Federal Republic of Germany.

Der Rosenkavalier21 / 26 Sept / 1 / 5 / 14 / 17 / 21 / 26 Oct 2025 Arabella14 / 18 / 22 / 25 / 28 Apr 2026

Michael Volle

Michael Volle studied with Josef Metternich and Rudolf Piernay. After engagements at the opera houses in Mannheim, Bonn, Düsseldorf, and Cologne, he became a member of the ensembles at the Zurich Opera House and the Bavarian State Opera in Munich. In Zurich, he performed roles such as Marcello (La bohème), Eugene Onegin, Yeletsky (Pique Dame), Roland (Fierrabras), Sixtus Beckmesser, Hans Sachs (Meistersinger von Nürnberg), and Golaud (Pelléas et Mélisande). Guest appearances have taken him to all major opera houses at home and abroad (including Berlin, Munich, Hamburg, Dresden, London, Paris, Barcelona, Vienna, Milan, Florence, New York) and to prestigious festivals (such as Salzburg, Bregenz, Baden-Baden). At the Bayreuth Festival, he sang Beckmesser in 2007 and 2008, Hans Sachs in 2017, and the Dutchman in 2023. Most recently, he appeared at the Metropolitan Opera in New York, in Florence in the title role of Verdi’s Falstaff, and as Hans Sachs at the Vienna State Opera. In Milan, he impressed as Pater Ecstaticus in Mahler’s 8th Symphony and as Jochanaan in Salome. At the Hamburg State Opera, he shone alongside Klaus Florian Vogt in the role of Wolfram in Wagner’s Tannhäuser. In 2008 and 2023, the magazine Opernwelt named him “Singer of the Year.” For his interpretation of Wozzeck, he was awarded the German Theater Prize “Der Faust” in 2009. In recognition of his stage achievements, he received the award for “Best Male Singer” at the Oper! Awards 2023. At the Zurich Opera House, his recent roles include Wolfram in Tannhäuser (2012), the title role in Wagner’s Der fliegende Holländer (2016), Nabucco (2019), and Boris Godunov (2020).

Arabella14 / 18 / 22 / 25 / 28 Apr 2026 Recital Michael Volle27 Apr 2026

Pavol Breslik

The Slovak tenor Pavol Breslik was engaged at the Berlin State Opera from 2003 to 2006 and was named “Young Singer of the Year” by the specialist magazine Opernwelt in 2005. Since 2006, he has been a regular guest at major European opera houses. At the Vienna State Opera, he sang Lenski (Eugene Onegin), Nemorino (L’elisir d’amore), Don Ottavio (Don Giovanni), and Alfredo (La traviata), and at the Bavarian State Opera, he made two important role debuts: Gennaro (Lucrezia Borgia) alongside Edita Gruberova and Edgardo (Lucia di Lammermoor) with Diana Damrau. At the Royal Opera House Covent Garden, he appeared as Lenski as well as Ferrando (Così fan tutte), Don Ottavio, and Tamino (The Magic Flute). He has also guested at the Paris Opera, the Liceu Barcelona, the Théâtre Royal de la Monnaie in Brussels, the Berlin State Opera, the Salzburg Festival, the Aix Festival, the Theater an der Wien, the Semperoper Dresden, and the Grand Théâtre Geneva. From 2012 to 2018, Pavol Breslik was a member of the ensemble at the Zurich Opera House, where he sang roles such as Števa (Jenůfa), Don Ottavio, Nadir (Les pêcheurs de perles), Peter Quint (The Turn of the Screw), and Leicester (Maria Stuarda). Recently, he made a highly successful debut as the Prince (Rusalka) at the National Theatre Prague. In 2021, he was awarded the honorary title “Bavarian Kammersänger.”

Arabella14 / 18 / 22 / 25 / 28 Apr 2026

Johan Krogius

Johan Krogius began his musical training in the boys’ choir of the Cathedral Choir Cantores Minores in Helsinki. He later studied at the Conservatory and at the Metropolia University of Applied Sciences in Helsinki, as well as at the Stockholm University of the Arts. In 2021, he won the Timo Mustakallio Singing Competition and was also awarded first prize at the Helsinki Lied Competition. On the opera stage, he has appeared in roles such as Jaquino (Fidelio), Pong (Turandot) in Helsinki, First Man in Joonas Kokkonen’s The Last Temptations at the Jyväskylä Opera, Don Ottavio (Don Giovanni) at the Finnish National Opera in Helsinki, and as Tamino (Die Zauberflöte) at Tampere Opera, as well as recently at the Savonlinna Opera Festival, where in 2024 he also sang Don Ottavio and Ismaele (Nabucco). During the 2022/23 and 2023/24 seasons, he was a member of the International Opera Studio of the Staatsoper Unter den Linden, where he appeared in roles including Leukippos in Strauss’s Daphne, Streshnev in Mussorgsky’s Khovanshchina, Tamino, First Armored Man and First Priest (Die Zauberflöte), as well as the Innkeeper and the Major-Domo (Der Rosenkavalier), Trojan (Idomeneo), Parpignol (La bohème) and Borsa (Rigoletto). In the summer of 2024, he also performed as Kuzka (Khovanshchina) with the Finnish Radio Symphony Orchestra under Esa-Pekka Salonen in Helsinki and Stockholm. In the 2024/25 season, he made his debut as Tybalt (Roméo et Juliette), the Young Man’s Apparition (Die Frau ohne Schatten) and First Knight of the Grail (Parsifal) at the Staatsoper Berlin.

Der Rosenkavalier21 / 26 Sept / 1 / 5 / 14 / 17 / 21 / 26 Oct 2025 Tosca28 Sept / 2 / 8 / 11 / 15 / 19 Oct 2025 Tannhäuser21 / 24 / 27 Jun / 2 / 5 / 8 / 11 Jul 2026 Carmen18 / 21 / 23 / 27 / 31 Jan 2026 Arabella14 / 18 / 22 / 25 / 28 Apr 2026 Johannes-Passion24 Mar 2026

Felix Gygli

The Swiss baritone Felix Gygli is the winner of the Kathleen Ferrier Awards 2023 and the Lied Prize of the Queen Sonja Competition 2024. Since the 2023/24 season, he has been a member of the International Opera Studio at the Zurich Opera House. He is a Samling Artist and was a “Young Artist” at the National Opera Studio in London in 2022/23. He completed his training at the Guildhall School of Music and Drama in London and at the Schola Cantorum Basiliensis. He was a member of the Académie Lyrique of the Verbier Festival 2023, where he was awarded the Prix Thierry Mermod as the “Most Promising Singer.” In January 2024, he participated in the Carnegie Hall SongStudio under the patronage of Renée Fleming. Felix Gygli sang the role of the 2nd Apprentice (Wozzeck) at the Verbier Festival 2023 and appears as Starveling in Benjamin Britten’s A Midsummer Night’s Dream at the Zurich Opera House. He opened the 2023/24 season with the Opéra Orchestre National de Montpellier in an opera gala concert conducted by Chloé Dufresne. Additionally, he performed as a baritone soloist with the Theater Orchester Biel Solothurn in Brahms’ German Requiem. He is a passionate recitalist and has given song recitals with pianists JongSun Woo and Tomasz Domański in the UK, France, and Switzerland. He made his US debut with a performance of Schubert’s Winterreise with pianist Pierre-Nicolas Colombat at the Boston Text and Tone Festival. His oratorio repertoire includes Fauré’s Requiem, Mendelssohn’s Elijah, and Bach’s St Matthew Passion. In 2022, he made his operatic debut as Papageno in Mozart’s The Magic Flute with Ouverture Opéra Sion.

Felix Gygli is a new scholarship holder of the Hildegard Zadek Foundation and receives the Liselotte Becker and Ursula van Harten Scholarship.

Arabella14 / 18 / 22 / 25 / 28 Apr 2026 Gala Concert of the International Opera Studio6 Jul 2026

Brent Michael Smith

Brent Michael Smith is from the USA. He studied voice at the Academy of Vocal Arts in Philadelphia and the University of Northern Iowa, as well as piano at Hope College. In 2021, he won 3rd prize at the Concorso Lirico Internazionale di Portofino, was a finalist at the Queen Sonja International Music Competition, and received the Zachary L. Loren Society scholarship. In 2020, he was a semifinalist at the Metropolitan Opera Council Auditions; in 2018, he won prizes at the Opera Index Competition and the Opera Birmingham International Competition, as well as awards at the Giargiari Bel Canto Competition. In the 2016/17 season, he sang Zuniga (Carmen), the British Major (Silent Night by Kevin Puts), Friedrich Bhaer (Little Women), and Ashby (La fanciulla del West) at the Michigan Opera Theatre. In the same season, he made his debut at the Toledo Opera as Antonio (Le nozze di Figaro) and at the Glimmerglass Festival as Ariodante (Xerxes). At the Santa Fe Opera, he appeared as a Lackey (Ariadne auf Naxos). At Opera Philadelphia, he sang Celio (The Love for Three Oranges) and Peter Quince (A Midsummer Night’s Dream) in 2019. After a season at the International Opera Studio, he has been a member of the Opernhaus Zürich ensemble since 2020/21, where he has performed roles in Boris Godunow, Simon Boccanegra, I Capuleti e i Montecchi, in the ballet Monteverdi, as Sparafucile (Rigoletto), Count Lamoral (Arabella), Raimondo Bidebent (Lucia di Lammermoor), Pistola (Falstaff), Angelotti (Tosca), Gualtiero Raleigh (Roberto Devereux), Gremin (Eugene Onegin), Friar Laurence (Roméo et Juliette), and Fafner (Das Rheingold).

Tosca28 Sept / 2 / 8 / 11 / 15 / 19 Oct 2025 Tannhäuser21 / 24 / 27 Jun / 2 / 5 / 8 / 11 Jul 2026 Cardillac15 / 18 / 21 / 25 Feb / 1 / 6 / 10 Mar 2026 Un ballo in Maschera22 / 28 / 31 May / 7 / 13 Jun 2026 Rigoletto20 / 23 / 27 Dec 2025 / 1 / 4 Jan 2026 Arabella14 / 18 / 22 / 25 / 28 Apr 2026

Yewon Han

Yewon Han is a South Korean soprano. She completed her Bachelor’s degree in Classical Voice at Seoul National University and continued her training in the Young Artist Program of the Korea National Opera Studio (2021–2022) as well as at the International Opera Studio Zurich (2022–2024). Yewon Han has performed a wide range of roles in Korea and Europe, including Lauretta in Gianni Schicchi, Papagena in Die Zauberflöte, Adele in Die Fledermaus, Romilda in Serse, Li Si in Jim Button and Luke the Engine Driver, Titania in A Midsummer Night’s Dream, and Najade in Ariadne auf Naxos. In 2025, she will appear as Ophelia in Hamlet at the Buxton International Festival. She has received numerous awards, including first prize at the 60th Concurso Tenor Viñas (2023), third prize at the International Singing Competition Neue Stimmen (2022), and several first prizes at major singing competitions in South Korea.

In the 2025/26 season, Yewon Han will continue as a permanent ensemble member at Zurich Opera, where she will appear in a wide-ranging repertoire.

Manon24 / 27 Sept / 3 / 7 / 10 Oct 2025 La clemenza di Tito26 / 29 Apr / 3 / 8 / 15 / 17 / 20 / 25 May 2026 Carmen18 / 21 / 23 / 27 / 31 Jan 2026 Hänsel und Gretel20 / 23 Nov / 2 / 4 / 16 / 18 Dec 2025 / 2 / 24 / 25 / 31 Jan 2026 Arabella14 / 18 / 22 / 25 / 28 Apr 2026

Irène Friedli

Irène Friedli grew up in Räuchlisberg, Switzerland, and completed her soloist diploma at the Music Academy in Basel. The alto continued her studies in the interpretation class of Dietrich Fischer-Dieskau in Berlin, took part in masterclasses with Brigitte Fassbaender, and received further training with Helen Keller. She won numerous prizes at international song competitions. Since the 1994/95 season, she has been a member of the ensemble at Zurich Opera House. Here she has performed, among others, as the Second and Third Lady (Die Zauberflöte), Mercédès (Carmen), the title role in Ravel’s L’Enfant et les sortilèges, Elsbeth in Schlafes Bruder, Lily in Harley, Annina and Flora (La traviata), Flosshilde (Das Rheingold, Götterdämmerung), Marcellina (Le nozze di Figaro), Emilia (Otello), Lucia (Cavalleria rusticana), Olga in Peter Eötvös’ Three Sisters, Marthe in Gounod’s Faust, Margret (Wozzeck), Lovis in Ronja Räubertochter by Jörn Arnecke, Flower Maiden and Voice from Above (Parsifal), Gertrud/Witch (Hänsel und Gretel), Clotilde (Norma), Mother/Other Mother (Coraline), Fortune Teller (Arabella), and Nurse (Boris Godunov). In the world premiere of the family opera Die Odyssee, she portrayed Eurykleia/Mother, and in Girl with a Pearl Earring, Tanneke. In 2012, she appeared at the Opéra Bastille in Paris. Most recently in Zurich, she has appeared as the Queen of Hearts in Alice in Wonderland, Filipyevna in Eugene Onegin, Tisbe in La Cenerentola, Miss Bentson in Lakmé, Mrs. Waas/Mrs. Grindtooth in Jim Knopf, the Head Chef in Amerika, and Ninetta in I vespri siciliani.

Der Rosenkavalier21 / 26 Sept / 1 / 5 / 14 / 17 / 21 / 26 Oct 2025 Hänsel und Gretel20 / 23 Nov / 2 / 16 / 18 Dec 2025 / 2 / 24 / 25 / 31 Jan 2026 Arabella14 / 18 / 22 / 25 / 28 Apr 2026

Samuel Wallace

The tenor Samuel Wallace is from Brazil, where he studied voice in Vitória. In 2024, he received a scholarship from the Mozarteum Brasileiro and subsequently participated in Rolf Beck’s International Choir Academy Lübeck. During this time, concerts took him to Germany as well as to the Philharmonie de Paris under the direction of Raphaël Pichon. His operatic repertoire includes roles such as Tamino (“Die Zauberflöte”) and the title role in Guilherme Bernstein’s opera “Serafim und der Ort, an dem man nicht stirbt.” In 2024, he portrayed Dorvil in Rossini’s “La scala di seta” and took part in the Gala Lírica of the 13th Tenor Meeting of Brazil at the Teatro Amazonas in Manaus. He attended masterclasses in Brazil, Italy, Switzerland, and Hungary. Samuel Wallace was a finalist in the Maria Callas Competition and prizewinner at the Joaquina Lapinha and Natércia Lopes singing competitions. Starting with the 2025/26 season, he will be a member of the International Opera Studio at the Zurich Opera House.

Manon24 / 27 Sept / 3 / 7 / 10 Oct 2025 Un ballo in Maschera22 / 28 / 31 May / 7 / 13 Jun 2026 Arabella14 / 18 / 22 / 25 / 28 Apr 2026

Martin Zysset

Martin Zysset was born and raised in Solothurn. He trained in clarinet and simultaneously completed vocal studies, which he complemented with masterclasses by Ernst Haefliger and Edith Mathis. In 1990/91 he was a member of the International Opera Studio (IOS) and in the same year received a scholarship from the Migros Cooperative Union as well as an award at the Pro Arte Lyrica competition in Lausanne. Since 1992, he has been a regular guest at the Summer Festival in Selzach. He has been engaged at the Opernhaus Zürich since the 1991/92 season, where he developed a broad repertoire ranging from buffo to dramatic roles, including Pedrillo, Monostatos, Spoletta, Incredibile (Andrea Chénier), Jaquino, Kudrjasch (Katja Kabanowa), Cassio, Peppe, Alfred (Die Fledermaus), Spalanzani, Tamino, Tybalt, Dancaïro, Arturo, Knusperhexe, Brighella, as well as the male lead in Udo Zimmermann’s Weisse Rose. He achieved great success portraying the title role Simplicius in the rediscovered operetta by Johann Strauss, which was also released on CD and DVD. Guest performances took him throughout Europe, to Shanghai, and with productions of Die Zauberflöte, Le nozze di Figaro, Fidelio, and Tannhäuser (Walter) to San Diego. He recorded Lehár’s operetta Paganini for Bavarian Radio. Most recently at the Opernhaus Zürich, he sang roles including Don Basilio (Le nozze di Figaro), Tschekalinski (Pique Dame), Triquet (Jewgeni Onegin), the Chief Eunuch (Land des Lächelns), Goro (Madama Butterfly), Spoletta (Tosca), Dormont (La scala di seta), the White Minister (Le Grand Macabre), the Devil/Narrator (Die Geschichte vom Soldaten), the Third Jew (Salome), Schmidt (Werther), and Feri (Die Csárdásfürstin).

La scala di seta25 / 28 Sept / 19 / 24 Oct 2025 Madama Butterfly30 Dec 2025 / 3 / 9 / 11 / 13 / 16 Jan 2026 Un ballo in Maschera22 / 28 / 31 May / 7 / 13 Jun 2026 Le nozze di Figaro24 / 29 Jan / 1 / 5 / 7 / 10 / 14 Feb 2026 Werther14 / 19 Jun / 1 / 4 / 10 Jul 2026 Arabella14 / 18 / 22 / 25 / 28 Apr 2026

Mentor Bajrami

Mentor Bajrami comes from Switzerland and studied at the European Film Actor School (EFAS) in Zurich until 2018. He appeared in various EFAS productions, including the roles of Trigorin and Srebrejkow in Anton Chekhov’s The Seagull, Boris in Yasmina Reza’s Bella Figura, and Jean in August Strindberg’s Miss Julie. Additionally, he performed at the Zurich Opera House in Così fan tutte and in 2017 appeared in the Stand Up! Comedy Show at the Bernhard Theater. Since 2018, he has been working as a freelance actor in Switzerland.

Arabella14 / 18 / 22 / 25 / 28 Apr 2026
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Abstract

Although she is surrounded by many admirers, Arabella dreams only of the «right one». She finds him in Mandryka, the Croatian landowner. Opera history’s final idealized marriage of love was written on the precipice of disaster: The opera dates to a time of deep social insecurity. The operetta-like tone of Strauss’ «Lyrischer Komödie» is strangely fractured. When it premiered in Dresden in 1933, it was instrumentalized by the Nazis for propaganda purposes. Director Robert Carsen doesn’t ignore the socio-political context and relocates the plot to the height of the Third Reich. The cast includes Diana Damrau, Michael Volle, and Pavol Breslik.

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Audio-Einführung

Our dramaturge Kathrin Brunner gives an insight into the opera «Arabella». Live introductions take place 45 minutes before the performance in the opera house.
  1. Audio introduction «Arabella»
    Our dramaturge Kathrin Brunner gives an insight into the opera «Arabella». Live introductions take place 45 minutes before the performance in the opera house.

Synopsis

Act One
As a result of his gambling addiction, Count Waldner’s family is on the brink of financial ruin. With debtors breathing down their necks, they have been reduced to lodging in a hotel in Vienna. The Count and his wife have placed all their hopes in their elder daughter Arabella, whom they intend to marry off to a wealthy suitor at the earliest opportunity. In public, their younger daughter, Zdenka, is passed off as a boy by the name of Zdenko, as the family does not have the means to keep two daughters in a style befitting their social status.

On the one hand, the girls’ mother Adelaide learns from a card reader that Arabella is destined for a wealthy bridegroom, but that the connection will be put at risk by her younger sister. On the other, Count Waldner has taken the initiative and sent a letter to an old, extremely rich chum from his regiment, enclosing a picture of his elder daughter.

Arabella is surrounded by admirers, including Counts Elemer, Dominik and Lamoral, who compete for her favour. The penniless officer Matteo, with whom Arabella has had a brief liaison, continues to carry a torch for her. He is confused by Arabella’s cold behaviour, as he has been receiving passionate love letters from her for some time. Matteo, however, is unaware that the letters are in fact from Zdenka, who has fallen in love with him, but has been masquerading as Arabella’s brother and his ally. Arabella, who has no profound feelings for her admirers, doesn’t bring about any decision for the time being, but she does tell Zdenka about an unknown man whom she has seen near the hotel and whose gaze has touched her very deeply.

A certain Mandryka presents himself to Count Waldner. He is the nephew and heir of Waldner’s since deceased regiment chum – and the stranger whose gaze has had such a curious effect on Arabella. Mandryka opened the letter to his uncle and immediately fell in love with Arabella’s picture.  He has travelled to Vienna from distant Croatia to ask Count Waldner for Arabella’s hand in marriage. Given the fact that he has – at least for the time being – helped Waldner out of his financial embarrassment, he is certain of his consent. And Waldner is only too pleased to introduce his daughter to Mandryka at the Fiaker Ball the same evening.

While Arabella is waiting for Zdenka, her thoughts revolve around her future – and her very different feelings for Elemer, Matteo and the unknown man.

Act Two
The first encounter between Arabella and Mandryka at the ball brings about a rapid decision. Arabella and Mandryka sense that they are destined for one another. Mandryka tells Arabella about an ancient custom in his homeland, whereby a girl gives her bridegroom a glass of water from a fountain as a symbol of their betrothal. They swear unconditional loyalty to one another.

Within the next few hours, Arabella intends to bid farewell to the three counts – who have Fiaker-Milli crown her as queen of the ball.

Matteo is in despair over Arabella’s ignorant behaviour and decides to go away in order to forget her. Zdenka follows him, but instead of the promised letter hands him an envelope with the key to Arabella’s room. Zdenka intends to wait for him there in the dark – disguised as Arabella.

By chance, Mandryka has overheard their conversation and feels betrayed. When he learns that Arabella has left the ball and returned to the hotel, he sees his suspicions confirmed. He loses his composure and starts flirting with Fiaker-Milli. The mood at the ball becomes increasingly exuberant. Confronted by Adelaide, Mandryka plays the cynic. Count Waldner banks on being able to clarify the misunderstanding immediately and to find out what has happened from Arabella herself at the hotel.

Act Three
Arabella returns from the ball in the early hours of the morning. She encounters Matteo, who is stunned to see her in the hotel foyer – having been lying in her arms only a few moments ago. For her part, Arabella understands neither his behaviour nor his suggestive remarks – a heated argument ensues.

At that moment, Arabella’s parents appear, followed by Mandryka, whose suspicions are confirmed when he encounters Arabella with Matteo.

Although Arabella is unaware of any wrongdoing, all the evidence appears to be unequivocally against her. Nor do Matteo’s reactions help to clarify the matter in any way. The situation escalates, and there is almost a duel. Only when Zdenka rushes in and reveals herself to be a woman is the misunderstanding clarified. Mandryka is deeply ashamed and requests Zdenka’s hand in marriage on behalf of the completely overwhelmed Matteo.

Arabella retires to her room. In despair, Mandryka believes that he has lost her for ever. However, to his astonishment, she returns and hands him a glass of water, as is the custom in his village. The lovers are now “engaged and united, in sorrow and joy, in transgression and forgiveness.”