The young composer Max is due to marry Agathe, but before his wedding he must finish his opera on which he has been working for quite some time. Despite all his efforts, Max is plagued by worries that he will fail to complete the piece and so makes almost no progress. Visions and hallucinations haunt him, the boundaries between dream and reality seem to blur and overlap. Caspar tries to persuade him finally to give in to the hidden and dark creative powers within him and so overcome his inability to write; Caspar’s efforts are finally rewarded.

Giacomo Puccini's immortal opera, in a high budget feature-film version directed by Academy Award nominee Robert Dornhelm, stars opera's 'Golden Couple', Rolando Villazon and Anna Netrebko as the protagonists, Rodolfo and Mimi. The chemistry between them is electric, unrivalled in the theatre today. Russian soprano Anna Netrebko is not only beautiful but has a marvelous voice and technique; Mexican tenor Rolando Villazon, has a wonderful voice and an incredible charisma. The director not only wanted to remain steadfastly faithful to Puccini's design but also document two of the leading singers of the modern age rather than embarking on a 'trendy' contemporary re-creation.

With their “musical comedy” in the spirit of Mozart, Richard Strauss and his brilliant librettist Hugo von Hofmannsthal created the most popular of all their works and one of the most frequently performed operas of all time. Disguised as a refined comedy, light as a feather and extremely entertaining, “Der Rosenkavalier” tackles universal themes such as love, sexuality, marital fidelity, and the changes that human relationships undergo over time. All set to music of the most sumptuous kind. With its prestigious cast under the inspired direction of Harry Kupfer, the 2014 Salzburg Festival production of *Der Rosenkavalier* was one of the most internationally acclaimed interpretations of the work since the start of the new millennium.

Live performance from the Vienna State Opera, 6 May 2010.

Axel Köhler’s production of Der Freischütz at the Dresden State Opera was described by Die Presse as “a minor miracle in Dresden”. In the words of the Salzburger Nachrichten, Köhler “scored a bulleye” with his sombre and satanic interpretation of Weber’s Romantic opera about love, temptation, souls sold to the Devil, obsession andfaith. According to the Financial Times, Christian Thielemann and the Dresden Staatskapelle conjured up a sense of “mortal terror from the orchestra pit. […] Thielemann is in command of every detail. That makes for utterly gripping listening.”

Aribert Reimann is one of the worlds most important living composers. His works are performed regularly all over the world. Now comes his latest opera - Medea. Roughly 30 authors have written works based on this ancient myth but it was the play by Franz Grillparzer which inspired Reimann most: »In no other version is it made so brutally clear that Medea is an outsider. () Right from the start of act one my mind was flooded by musical ideas and by the end of the second act I really thought my head would burst. Vienna State Opera succeeded in recruiting Marco Arturo Marelli a man with a world-wide reputation, especially for global premieres as director and scenographer for this performance. Unusually for a world premiere, the first series of performances of the opera were a huge success amongst audiences and press alike. The public stormed the box office and ticket sales by far exceeded availability. A Sold Out notice had to be put up for virtually every performance!

Carl Maria von Webers dark Romantic era tale of love, faith, and temptation is grippingly performed by the Dresden Staatskapelle led by conductor, Christian Thielemann in this live performance from early 2015. With highly acclaimed staging by Axel Köhler, the singers in leading roles add to the luster of the production with the tenor Michael Königs performance of the anti-hero Max displaying a gloriously free upper register bringing heroic weight to his role and Sara Jakubiak sweet toned and melancholic Agathe.

The production was the Vienna State Opera debut for the young Swiss conductor Philippe Jordan – the Argentinian tenor Marcelo Álvarez, took the title role. His Charlotte on this occasion was the young Latvian mezzo-soprano Elīna Garanča. Her performances have been enthusiastically received and she has already been labelled as the new mezzo wonder. Staged by internationally sought-after Rumanian director, Andrei Serban, the apparently sentimental love story – normally presented in 18th century period costumes - reveals a study of personal relationships and a close observation of a woman, who comes of age too late. Serban’s aim was to rid the opera of the unjustified reputation of banality that clings to it despite its underlying tragic mood. By setting the production in the stiff, claustrophobic atmosphere of a small town in the 1950s, he aimed to make the audience more aware of its deeper levels of self-denial.

Since its premiere in 1893, Engelbert Humperdinck's fairytale opera »Hansel and Gretel« has awakened a passion for music theatre in generations of children. Even his great contemporaries – such as Richard Strauss, Gustav Mahler or Johannes Brahms – were delighted by this work. It is the successful combination of seemingly folkloric simplicity and the complex musical language of Wagner’s direct successor, of simple melody and artful orchestration, and of socio-critical realism and atmospheric magic that makes the music to the Brothers Grimm’s famous story so captivating. And so the Vienna State Opera's production speaks to both children and adults alike, leading through wondrous projections of a magic lantern into the middle of the fairytale storyline.

A match in 12 rounds. A couple has fallen for each other. They desire each other and yet cannot reach each other. The ritual of desire, the fight for the trophy of love is a dangerous, life-threatening game that turns into destruction. Music theater based on motifs from August Strindberg's drama “Fräulein Julie”; production Neue Oper Wien 2018.