Opernhaus Düsseldorf tickets 26 February 2025 - Lady Macbeth of Mtsensk | GoComGo.com

Lady Macbeth of Mtsensk

Opernhaus Düsseldorf, Düsseldorf, Germany
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7:30 PM
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US$ 111

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Important Info
Type: Opera
City: Düsseldorf, Germany
Starts at: 19:30
Intervals: 1
Duration: 3h
Sung in: Russian
Titles in: German

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast
Performers
Bass: Andreas Bauer Kanabas (Boris Timofeyevich Izmailov)
Choir: Chor der Deutschen Oper am Rhein
Orchestra: Düsseldorfer Symphoniker
Soprano: Izabela Matula (Katerina Lvovna Izmailova)
Tenor: Jussi Myllys (Zinoviy Borisovich Izmailov)
Tenor: Sergey Polyakov (Sergei)
Conductor: Vitali Alekseenok
Creators
Composer: Dmitri Shostakovich
Librettist: Alexander Preys
Director: Elisabeth Stöppler
Writer: Nikolai Leskov
Overview

This performance will be recorded for online streaming. Please note that you may be in the camera's field of vision. By attending the performance, you give the Deutsche Oper am Rhein permission to make these recordings and to publish them for an unlimited period of time.

How far may a person go?

Katerina Ismailova is wealthily married and lonely, her husband impotent and her father-in-law a tyrant. She is trapped in a world where merciless brutality, despotism and cruelty reign. The woman with a lust for life and love gives way to her raw longing for freedom when Sergei starts working for the Ismailov family. She throws herself into a passionate affair with him and poisons her father-in-law's food. But the increasing radicalism of her desire for self-determination will claim further victims ...

How far may a person go to free themselves from unworthy circumstances? Here, a woman becomes a vile murderer, and yet the 26-year-old composer Shostakovich sympathises with her. His grand, expressive score is a masterpiece of the 20th century, a mixture of tragic force and satire, full-blooded grotesque and harrowing realism that sugarcoats nothing and yet makes everything palpable. After Peter I. Tchaikovsky's "The Maid of Orleans", director Elisabeth Stöppler and her team tell the story of another radically contradictory female character.

History
Premiere of this production: 22 January 1934, Leningrad Maly Operny

Lady Macbeth of the Mtsensk District is an opera in four acts and nine scenes by Dmitri Shostakovich. The libretto, jointly written by Alexander Preys and the composer, is based on the novella of the same name by Nikolai Leskov. (The opera is generally translated in English as Lady Macbeth of Mtsensk.) Dedicated by Shostakovich to his first wife, physicist Nina Varzar, the roughly 160-minute opera was first performed on 22 January 1934 at the Leningrad Maly Operny, and on 24 January 1934 in Moscow. It incorporates elements of expressionism and verismo, telling the story of a lonely woman in 19th-century Russia who falls in love with one of her husband's workers and is driven to murder.

Synopsis

Although the opera shares the basic characters and outline of the play, it has a number of differences from the original story in terms of plot and emphasis. One example is in the convoy after Katerina gives Sergei her stockings: in the opera, all the women mock Katerina, whereas in the story, Sergei and Sonya mock her while Fiona and Gordyushka shame them in response to their cruelty toward her.

Act 1
Scene 1: Katerina's room

Katerina is unhappily married to Zinovy, a provincial flour-merchant. She complains to herself of her loneliness. Her father-in-law Boris, angered at her attitude in response to his saying that mushrooms are his favourite dish, says it is her fault for not producing an heir. She replies that Zinovy cannot give her a child – which Boris disdains; he then threatens her if she decides to seduce some youthful lover. Zinovy is called away on business, and Boris – against his son's inclinations – makes Katerina swear before an icon to be faithful. A servant, Aksinya, tells Katerina about the womanising new clerk, Sergei.

Scene 2: The Izmailovs' yard

Sergei and his comrades are sexually harassing Aksinya. Katerina intervenes. She berates him for his machismo and asserts that women are as brave and capable as men. Sergei is willing to prove her wrong and they wrestle; she is thrown down and Sergei falls on top of her. Boris appears. She says that she tripped and Sergei in trying to help her, fell down also. The other peasants back her up. Boris however is suspicious and roars at the peasants, telling them to get back to work before ordering Katerina to fry some mushrooms for him and threatening to tell Zinovy all about her behaviour.

Scene 3: Katerina's room

Katerina prepares to go to bed. Sergei knocks on her door with the excuse that he wants to borrow a book because he cannot sleep, but Katerina has none; she cannot read. As she is about to close the door he continues attempting to seduce her by remembering their wrestling match earlier that day. He gets into the room and forces himself on her. After this is done, she tells him to leave, but he refuses and she agrees to embark on an affair with him. Boris knocks on the door and confirms that Katerina is in bed and locks her in. Sergei is trapped in the room, and the two make love.

Act 2
Scene 4: The yard

One night a week later. Boris, unable to sleep due to unease about thieves being on the prowl, is walking in the courtyard in the pre-dawn darkness. He, remembering his own youthful days as a rake and knowing Zinovy's low libido, is considering seducing Katerina himself to fulfill his son's marital duties. He spots Sergei climbing out of Katerina's window. He catches him and publicly whips him as a burglar, then has him locked up. Katerina witnesses this but cannot stop him because she remains locked in her room. When finally she manages to climb down the eavestrough-drainpipe the other servants restrain her on Boris' order. After being exhausted by beating Sergei, Boris demands some dinner, saying that he will whip Sergei again the next day and dispatches a servant to call Zinovy back, saying that Zinovy is to be told that there's trouble at home. Katerina adds rat-poison to some mushrooms and gives them to him. As he is dying, calling for a priest, she retrieves the keys to free Sergei. The priest, called by the arriving morning shift of workers who find Boris in agony, arrives: Boris vainly tries to tell him that he was poisoned and falls back dead pointing at Katerina. Katerina, weeping crocodile tears, convinces him that Boris has accidentally eaten poisonous mushrooms and he says a prayer over Boris' body.

Scene 5: Katerina's room

Katerina and Sergei are together. Sergei querulously says that their affair will have to end due to Zinovy's impending return and wishes he and Katerina could marry – Katerina assures him that they'll marry but refuses to tell him how she'll arrange it. Sergei then falls asleep; Katerina is then tormented by Boris' ghost and cannot sleep. Later she hears Zinovy returning. He has been called back by one of the servants with the news of his father's death. Although Sergei hides, Zinovy sees Sergei's trousers and belt and guesses the truth. As he and Katerina quarrel, he whips her with the belt. Hearing Katerina's cries, Sergei emerges and confronts Zinovy, who then tries to escape and call the servants. Katerina stops Zinovy: she and Sergei then proceed to strangle Zinovy, who's finally finished off by Sergei with a blow on the head with a heavy candlestick. The lovers hide the corpse in the wine-cellar.

Act 3
Scene 6: Near the cellar

Following Zinovy's disappearance he has been presumed dead. Katerina and Sergei prepare to get married, but she is tormented by the fact that Zinovy's corpse is hidden in the wine cellar. Sergei reassures her and they leave for the wedding ceremony. A drunken peasant breaks into the cellar, finds Zinovy's body and goes to fetch the police.

Scene 7: The police station

The police are complaining about not being invited to the wedding and vainly try to distract themselves by tormenting a "nihilist" schoolteacher because of atheism when the peasant arrives and gives them the opportunity for revenge.

Scene 8: The Izmailov garden

Everyone is drunk at the wedding. Katerina sees that the cellar door is open, but the police arrive as she and Sergei are trying to escape.

Act 4
Scene 9. A temporary convict camp near a bridge

On the way to penal labour to Siberia, Katerina bribes a guard to allow her to meet Sergei. He blames her for everything. After she leaves, Sergei tries to seduce another convict, Sonyetka. She demands a pair of stockings as her price. Sergei tricks Katerina into giving him hers, whereupon he gives them to Sonyetka. Sonyetka and the other convicts taunt Katerina, who pushes Sonyetka into an icy river – also, herself, falling in. They are swept away and the convict train moves on.

Venue Info

Opernhaus Düsseldorf - Düsseldorf
Location   Heinrich-Heine-Allee 16a, 40213

With its ensemble of top-quality soloists, its chorus and the nationally and internationally acclaimed company of the Ballett am Rhein, Opernhaus Düsseldorf has established itself as a leading European venue for opera and dance.

The Deutsche Oper am Rhein Düsseldorf Duisburg gGmbH is a theatre partnership between the cities of Düsseldorf and Duisburg which can look back on a long tradition of collaboration between the two cities. Since it was founded in 1956, it has consistently been one of Germany’s largest opera houses.

It is located in one of the most extensive and densely-populated cultural regions in Germany. The cities of Düsseldorf and Duisburg alone possess almost 1.1 million inhabitants and both the adjacent regions and a large number of guests from further afield benefit from the artistic excellence offered by the Deutsche Oper am Rhein.

At its two venues, Opernhaus Düsseldorf and Theater Duisburg, whose combined audience capacity is around 2,400 people, it presents more than 280 events each year. These include opera and operetta, ballet, contemporary music theatre productions and a programme for young audiences, as well as gala concerts and numerous special events together with a contextual programme.

As a consequence, the great classics of the operatic canon – the works of Mozart, Verdi, Puccini and Strauss – are as much part of the repertoire on stage in Düsseldorf and Duisburg as rare pieces of baroque opera, significant works of the modern age and commissions from composers of our own time such as Helmut Oehring, Anno Schreier, Marius Felix Lange, Jörn Arnecke and Lucia Ronchetti.

A sense of the variety of staging vocabulary represented in recent years is evident from names such as Lotte de Beer, Johannes Erath, Tatjana Gürbaca, Claus Guth, Stefan Herheim, David Herman, Dietrich W. Hilsdorf, Immo Karaman, Barrie Kosky, Ilaria Lanzino, Lydia Steier, Elisabeth Stöppler, Michael Thalheimer and Rolando Villazón.

This many-sided repertoire is sustained by the artistic ensembles that the Deutsche Oper am Rhein is able to bring together. The largest ensemble of soloists in the world includes both experienced and internationally acclaimed singers in addition to many young artists launching their careers from Düsseldorf and Duisburg. The current full-time ensemble consists of 47 soloists and six members of the Opera Studio. This is supplemented by a series of guest artists, many of whom enjoy a close and long-standing association with the Deutsche Oper am Rhein.

The dancers of the Ballett am Rhein are at the heart of their work. Because the beginning of every work of art lies in the dancer's body itself and in its ability to tell stories and convey feelings and states. Their vision of dance is always based on the diverse use of ballet technique: the dancer's body becomes the instrument of the idea behind the choreography and releases the creative energy of each individual. This opens up new dimensions of movement diversity, combining technical brilliance with a strong inwardness and desire for movement.

Düsseldorf’s opera house on Heinrich-Heine-Allee is located at the edge of the historic city centre, directly between the Hofgarten and Königsallee, and is within walking distance of the promenade on the bank of the Rhine.

The new City Theatre opened in 1875 in a design by the architect Ernst Giese. The building, which recreated the style of the Italian Renaissance with its round frontage and 1,260 seats, bore a resemblance to other representative theatre buildings such as the Semperoper in Dresden.

Two air raids in 1943 left the theatre severely damaged. After the war, a period of temporary arrangements followed until the opera house was rebuilt in its present form in the mid-1950s. Extensive rebuilding work based on plans drawn up by the architects Julius Schulte Frohlinde, Paul Bonatz and Ernst Huhn were intended to correct the hasty repairs of the war years and redefine the opera house’s profile. The front of the building with its simple façade, the elegantly curved stairs of the foyer and numerous stylistic elements from the 1950s now enjoy protected monument status.

Between 2006 and 2007, the City of Düsseldorf commissioned extensive renovations to the opera house. The building was visibly extended by a rehearsal studio for the ballet and orchestra that is flooded with light. This opens onto the Hofgarten and Königsallee with a ten-metre wide and eight-metre high glass façade. The auditorium now has capacity for a maximum of 1,296 visitors. Downstairs in the basement lies the costume store, which holds some 50,000 different costumes – a major attraction on every guided tour of the opera house.

Important Info
Type: Opera
City: Düsseldorf, Germany
Starts at: 19:30
Intervals: 1
Duration: 3h
Sung in: Russian
Titles in: German
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