Director: Andreas Homoki
Conductor: Lorenzo Passerini
Set Design: Paul Zoller
Costume Designer: Gideon Davey
Light: Franck Evin

Il Conte di Walter Adam Palka
Rodolfo Giorgio Berrugi
Miller George Gagnidze
Luisa Selene Zanetti
Wurm Brindley Sherratt
Federica Kristina Stanek
Laura Aebh Kelly
Un Contadino Mziwamadoda Sipho Nodlayiya

Philharmonisches Staatsorchester Hamburg

“Luisa Miller” is Giuseppe Verdi’s third musical setting of a play by Friedrich Schiller. “It is a magnificent drama, full of passion and theatrically very effective,” the composer wrote to the librettist Salvadore Cammarano about “Intrigue and Love”. In order to meet the expectations of the censors and the audience, Verdi first had to reduce the piece to a libretto suitable for opera, which shifted the focus from Schiller’s political material to the family drama. In his opera, which premiered in Naples in 1849, Verdi achieved outstanding character studies of all the protagonists. In this work he laid the foundation for many “Verdi types” of later years, such as Iago, Giorgio Germont, Aida and Desdemona. “Luisa Miller” was seen in 1981 as the Hamburg premiere in a new production at the Hamburg State Opera. The musical direction was by Giuseppe Sinopoli, and the direction and set design was by Luciano Damiani.

For tickets and more information https://www.staatsoper-hamburg.de/

Conductor Mark Wigglesworth
Director Willy Decker
Set Designer Wolfgang Gussmann
Costume Designer Wolfgang Gussmann

Edward Fairfex Vere, Kapitän der "Indomitable" Gregory Kunde
Billy Budd Vortoppmann Huw Montague Rendall
John Claggart Waffenmeister Brindley Sherratt
Mr. Redburn Adrian Eröd
Mr. Flint Wolfgang Bankl
Leutnant Ratcliffe Attila Mokus

"Evil knows about good, but good does not know about evil."

This quote from Franz Kafka would be an apt subtitle for Britten's Billy Budd. The satanic officer Claggart succeeds in making the angelic and therefore guileless sailor Billy Budd, who is loved by everyone, innocently guilty and thus destroyed.

For tickets and information https://kalender.wiener-staatsoper.at/en/calendar/detail/billy-budd/

Conductor Edward Gardner
Concert direction Victoria Bomann-Larsen

Daland Brindley Sherratt
Hollenderen Gerald Finley
Senta Lise Davidsen
Erik Stanislas de Barbeyrac
Styrmannen Eirik Grøtvedt
Mary Anna Kissjudit

The plot of The Flying Dutchman is based on the legend of the same name about a ghost ship that is never able to make port, but doomed to sail the seven seas for all eternity. The Dutchman is trapped in a curse and can only be redeemed by the love of a faithful woman. Redemption through love is a common theme in Wagner’s work.

Wagner wrote the opera in 1841, inspired by a stormy sea voyage that ended with him seeking refuge along the Norwegian coast. It is considered his breakthrough as an opera composer.

This production will also be live recorded for Decca.

For tickets and more information https://www.operaen.no/

Conductor Constantin Trinks
Production Calixto Bieito
Set Design Rebecca Ringst
Costume Design Ingo Krügler
Lighting Reinhard Traub
Assistant Choreographer Heidi Aemisegger
Dramaturgy Andrea Schönhofer
Choruses Christoph Heil

Don Fernando Milan Siljanov
Don Pizarro Wolfgang Koch
Florestan David Butt Philip
Leonore Elisabeth Teige
Rocco Brindley Sherratt
Marzelline Jessica Niles
Jaquino Jonas Hacker
1. Gefangener Liam Bonthrone
2. Gefangener Daniel Noyola

Dressed as a man and calling herself “Fidelio”, Leonore surreptitiously gains the confidence of the jailer Rocco and his daughter Marzelline, thus gaining access to the high security tract where her husband Florestan has been despotically incarcerated by Don Pizarro. Florestan is in mortal danger, but this does not intimidate his wife, who is determined to liberate him. Finally, however, the two of them can only be rescued by an emissary from the monarch. At the end, a Utopia in the form of a final chorus sets the stage aglow, not only as a plea for freedom and justice, but also concurrently as a condemnation of the anxieties and restrictions of human existence.

Beethoven had several plans for operatic compositions, but he only managed to realize one of these projects: in a decades-long process of creativity and rewriting, inspired by a French work entitled Léonore or Marital Loyalty by composer Pierre Gaveaux and librettist Jean Nicolas Bouilly, which was in turn based on a real event from the epoch of the French Revolution, Beethoven crafted his only opera, Fidelio – a musical cross-over between a light opera and a grandiose theatrical symphony.

For ticket and information https://www.staatsoper.de/en/productions/fidelio

The Met’s family-friendly production of Mozart’s dazzling fairy tale returns, sung in English and running under two hours. Patrick Furrer and Gareth Morrell share conducting duties, leading a standout cast in Julie Taymor’s magical staging. Tenors Piotr Buszewski and Joshua Blue share the role of Tamino, the brave prince on a quest to win the clever princess Pamina, sung by sopranos Janai Brugger and Liv Redpath. The cast also features famed tenor Rolando Villazón reprising his uproarious portrayal as the luckless bird catcher Papageno, alternating with baritone Alexander Birch Elliott, and soprano Kathryn Lewek as the Queen of the Night, alongside basses Brindley Sherratt and James Creswell as Sarastro.

COMPANY The Royal Opera
MUSIC George Frideric Handel
LIBRETTO Thomas Morell
DIRECTOR Oliver Mears
SET DESIGNER Simon Lima Holdsworth
COSTUME DESIGNER Ilona Karas
LIGHTING DESIGNER Fabiana Piccioli
MOVEMENT DIRECTOR Anna Morrissey
VIDEO PROJECTIONS Sander Loonen

Jephtha's belief in God is unshakeable. But when he unwittingly vows to sacrifice his own daughter, he will test the bonds of faith – and family – to the limit. 

Continuing our odyssey into Handel's Covent Garden works, this gripping new staging by Oliver Mears sheds powerful new light on a timeless biblical tale. Allan Clayton (Peter Grimes) returns to Covent Garden in the title role, joined by a largely British cast featuring Alice Coote, Brindley Sherratt and Jennifer France, with musical direction from baroque specialist Laurence Cummings. 

For tickets and information https://www.roh.org.uk/tickets-and-events/jephtha-by-oliver-mears-details#cast-and-creatives

Sir Simon Rattle conductor
Christian Gerhaher Wozzeck
Malin Byström Marie
Thomas Blondelle Tambourmajor
Brindley Sherratt Doktor
Peter Hoare Hauptmann, Der Narr
Robert Lewis Andres
Héloïse Mas Margret
Matthieu Toulouse Erster Handwerksbursche
Tomasz Kumięga Zweiter Handwerksbursche
London Symphony Orchestra
Estonian Philharmonic Chamber Choir
Maîtrise des Bouches-du-Rhône

Simon McBurney stage director
Miriam Buether set design
Christina Cunningham costume design
Paul Anderson lighting design
Leah Hausman choreography
Will Duke video
Gerard McBurney dramaturgy
Sasha Milavic-Davies collaboration to the stage direction

1 hour and 40 minutes without interval

Wozzeck is a brave soldier, a scapegoat of a whole social system, who kills his mistress out of jealousy and then takes his own life.

The Romantic playwright Büchner painted this vivid portrait in the early days of industrialisation: a relentless movement of objectification of beings that culminates in World War I – of which Berg’s opera is, in its own way, an echo, as much as it prophesies the world to come.

For his third time at the Festival d’Aix en Provence, Simon McBurney directs this landmark of 20th-century opera. Sir Simon Rattle conducts the London Symphony Orchestra and a first-rate cast; Christian Gerhaher brings all his Lieder skills in a subtle and heart-rending incarnation of the title role as a myth of our time.

Alban Berg’s searing operatic masterpiece caused a scandal at its 1925 premiere. Suppressed during the Nazi era, it has retained all its relevance today, telling a gripping story with monumental musical forces. Christian Gerhaher returns to Covent Garden, starring in a vivid new staging by award-winning director Deborah Warner (Peter Grimes, Billy Budd), conducted by Antonio Pappano.

Parsifal has been described as ‘the greatest work of art ever created in any medium.’

Richard Wagner’s final music drama is unlike anything that went before or has come since. It can feel more like a ritual ceremony than an opera – grand yet intimate, somehow occupying its own space and time. At the heart of Parsifal is a curious, magical treatment of the symphony orchestra that appears to give the voices above it all the space and autonomy they need.

Following award-winning concert performances of Peter Grimes with Stuart Skelton in the title role, the Australian tenor returns to Bergen in the same capacity for this Parsifal under chief conductor Edward Gardner. Joining them is a handpicked cast including Johan Reuter as the wounded Amfortas, Brindley Sherratt as the wise old Gurnemanz and Ricarda Merbeth as the teasing Kundry. Any performance of Parsifal is special. Focusing on Wagner’s miraculous, glowing music alone, this one is sure to prove truly memorable.

Director David McVicar
Conductor Maxim Emelyanychev
Revival Director Angelo Smimmo
Designer John Macfarlane
Lighting Designer Paule Constable
Movement Director Leah Hausman

Tamino Filipe Manu
First Lady Alexandra Lowe
Second Lady Gabrielė Kupšytė
Third Lady Kseniia Nikolaieva
Papageno Gyula Orendt
Queen of the Night Aigul Khismatullina
Monostatos Brenton Ryan
Pamina Anna Prohaska
First Child Tharuni Kalavannan
Second Child Patrick Devlin
Third Child Frederick Mushrafi
Speaker of the Temple Oliver Zwarg
Sarastro Brindley Sherratt
First Priest Harry Nicoll
Second Priest Donald Maxwell
Papagena Sarah Dufresne
First Man in Armour Egor Zhuravskii
Second Man in Armour Thomas D. Hopkinson

Orchestra Orchestra of the Royal Opera House
Concert Master Sergey Levitin
Chorus Royal Opera Chorus
Chorus Director William Spaulding

In Die Zauberflöte, a prince from a far‑off land on a quest to liberate a princess meets a giant snake, a cocky bird‑seller, the Queen of the Night and a High Priest who imposes strange rites of passage. How does one approach Mozart’s last opera, first performed in Vienna in 1791, two months before the composer's death? As a fantastical tale for children, as the reflection of the masonic allegiance of Mozart and his librettist Schikaneder, or as an ardent meditation on human existence? The director Robert Carsen attempts to go beyond the libretto's simplistic opposition of good and evil, represented by Sarastro and the Queen of the Night, suggesting that each of them guides the young Tamino and Pamina on the path to wisdom. An optimistic reading that does not exclude the idea of death, described by Mozart in a letter to his father as “our best friend”.