Oslo Opera House: Fin de partie Tickets | Event Dates & Schedule | GoComGo.com

Fin de partie Tickets

Oslo Opera House, Oslo, Norway
Norwegian National Opera Orchestra
Scene 5 from the opera "Fin de partie"
Scene 1 from the opera "Fin de partie"
Scene 2 from the opera "Fin de partie"
Scene 3 from the opera "Fin de partie"
Scene 4 from the opera "Fin de partie"
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Available Dates: 18 - 20 Sep, 2025 (2 events)
Important Info
Type: Opera in Concert
City: Oslo, Norway
Duration: 2h

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
Choose the date to see the peformers
Creators
Composer: György Kurtág
Librettist: György Kurtág
Writer: Samuel Beckett
Overview

The sound of life's checkmate. György Kurtág’s Fin de partie – based on Samuel Beckett's Endgame – is a momentous modern opera. Experience it as a concert with the singers who helped shape the music when it was created.

Trapped in no man's land
Four people await the end times in a house by the sea: One of them is Hamm, an elderly blind man in a wheelchair. Another is Clov, his servant, who is unable to sit. And then there are Nagg and Nell, Hamm's elderly parents, who lost their legs in a cycling accident and are now stuck in separate rubbish bins . Outside there is nothing.

In complete isolation, they are confronted with their fears, manias and insecurities. As they wait for their claustrophobic, static situation to end, tension builds between them.

The one Beckett has been waiting for
Hungarian György Kurtág is one of the world's greatest living composers, and his Fin de partie is the result of an entire life’s work. At the age of 91, he completed his first and only opera after eight years of intense immersion in Beckett’s Endgame from 1957.

The Nobel laureate’s existential chamber play suits Kurtág's expression perfectly: The music is at times sparse, yet deeply expressive – with a quivering tension between dark humour and veiled beauty.

In The New Yorker, Alex Ross wrote that the opera “seems the equal of the celebrated text on which it is based. Beckett has been waiting for Kurtág all this time.”

The singers Kurtág created the music around
Fin de partie was commissioned by La Scala, where it premiered in 2018. The premiere cast from Milan is also on stage in Bjørvika: Frode Olsen, Leigh Melrose, Hilary Summers and Leonardo Cortellazzi, who helped shape the music together with Kurtág himself.

The Norwegian National Opera Orchestra is the fifth character on stage in this concert version. The subtext – all that remains unsaid – is expressed in their music, under Edward Gardner’s musical direction.

The singers Kurtág created the music around 
Fin de partie was a commissioned work from La Scala, where it premiered in 2018. The premiere cast from Milan will also be on stage in Bjørvika: Frode Olsen, Leigh Melrose, Hilary Summers and Leonardo Cortellazzi, who helped shape the music together with Kurtág himself. 

The Norwegian National Opera Orchestra is the fifth character on stage in this concert version. The subtext, i.e. that which is not spoken, is expressed in their music under the musical direction of Edward Gardner.

History
Premiere of this production: 15 November 2018, Teatro alla Scala, Milan

Fin de partie is a one-act opera by György Kurtág, set to a French-language libretto adapted by the composer from the play Endgame (French title: Fin de partie) by Samuel Beckett, with the inclusion of a setting of Beckett's English-language poem "Roundelay" at the start of the opera.

Synopsis

The setting is a house by the sea, where four people reside:

Hamm, an elderly gentleman confined to a wheelchair
Clov, servant to Hamm, who cannot sit down
Nagg and Nell, Hamm's very old parents, each trapped in a dustbin, without legs
The tensions between the four characters exasperate each of them:

Hamm cannot abide his parents and their chatter.
Nell can barely tolerate Nagg.
Clov regards the others wearily.
All four wait for an end to the inertia and claustrophobia of their situation.

Prologue: Nell is the first character to appear, and delivers the setting of 'Roundelay' to begin the opera. Her words hazily allude to memories, with the sound of footsteps as the only sound to be heard on the beach.
Clov's Pantomime: Clov and Hamm appear. Clov is troubled and uneasy on his legs. He makes repetitive gestures, the same gestures every day, during his domestic chores, interspersed with short, nervous laughter.
Clov's First Monologue: Clov speaks of the possibility that the current situation may come to some sort of end soon.
Hamm's First Monologue: by contrast, Hamm thinks about his and his parents' sufferings. With feelings of despondency and exhaustion, he claims that he cannot resolve the current circumstances.
Bin: Nagg and Nell, both severely handicapped, are tired out from their long-term bickering, and their mutual incomprehension. During their conversation, they recall the cycling accident in the Ardennes that caused them both to lose their legs. Memories also surface of a boat trip on Lake Como. These memories are their sole happy memories and, at least superficially, give them a little nostalgia for their life spent together. Yet, Hamm, who wants to sleep, finds his parents' chatter irritating, and orders Clov to throw the bins, including Nagg and Nell, into the sea. Nell dies in the meantime, apparently unnoticed by the others.
Novel: Hamm wants to tell Nagg a story. In past days, a father had come to him on Christmas Eve asking for bread for his son. Hamm had decided to take him on.
Nagg's Monologue: Nagg remembers when Hamm was young and needed him.
Hamm's Penultimate Monologue: Hamm ponders his difficult relations with others.
Hamm and Clov's Dialogue: Hamm asks Clov for his tranquilliser. Clov replies that no tranquillisers are left.
"It's over, Clov" and Clov's Vaudeville: Hamm tells Clov that he no longer needs him, but then asks Clov to say something that he may remember before departing. Clov remarks that Hamm had never spoken to him until that moment. Only now, as he is about to leave, does Hamm pay any notice of him.
Clov's Last Monologue: Clov reflects on his condition. He has never understood what words like 'love' and 'friendship' mean. He also feels old, tired, and unable to form new habits. He is bound to his repetitive, never-changing daily routine.
Transition to the Finale: Hamm thanks Clov as Clov is about to leave.
Hamm's Last Monologue: Clov is about to leave, but has not yet moved. Hamm realises that he has been left alone.
Epilogue: Hamm grasps that it is now up to him – and him alone – to continue playing the endgame.

Venue Info

Oslo Opera House - Oslo
Location   Kirsten Flagstads Plass 1

The Oslo Opera House is the home of The Norwegian National Opera and Ballet, and the national opera theatre in Norway. The building is situated in the Bjørvika neighbourhood of central Oslo, at the head of the Oslofjord. It is operated by Statsbygg, the government agency which manages property for the Norwegian government. The structure contains 1,100 rooms in a total area of 38,500 m2 (414,000 sq ft). The main auditorium seats 1,364 and two other performance spaces can seat 200 and 400. The main stage is 16 m (52 ft) wide and 40 m (130 ft) deep. The angled exterior surfaces of the building are covered with marble from Carrara, Italy and white granite and make it appear to rise from the water. It is the largest cultural building constructed in Norway since Nidarosdomen was completed circa 1300.

In 1999, after a long national debate, the Norwegian legislature decided to construct a new opera house in the city. A design competition was held and, of the 350 entries received, the judges chose that of Snøhetta. Construction started in 2003 and was completed in 2007, ahead of schedule and 300 million NOK (~US$52 million) under its budget of 4.4 billion NOK (~US$760 million). The gala opening on 12 April 2008 was attended by His Majesty King Harald, Queen Margrethe II of Denmark and President Tarja Halonen of Finland and other leaders. During the first year of operation, 1.3 million people passed through the building's doors.

The Opera House won the culture award at the World Architecture Festival in Barcelona in October 2008 and the 2009 European Union Prize for Contemporary Architecture.

The roof of the building angles to ground level, creating a large plaza that invites pedestrians to walk up and enjoy the panoramic views of Oslo. While much of the building is covered in white granite and La Facciata, a white Italian carrara marble, the stage tower is clad in white aluminium, in a design by Løvaas & Wagle that evokes old weaving patterns.

The lobby is surrounded by 15 m (49 ft) tall windows with minimal framing and special glass that allows maximum views of the water. The roof is supported by thin angled columns also designed not to interfere with views.

Interior surfaces are covered in oak to bring warmth to spaces in contrast to the coolness of the white exterior. The main auditorium is a horseshoe shape and illuminated by an oval chandelier containing 5,800 handmade crystals. Seats include monitors for the electronic libretto system, allowing audiences to follow opera libretti in Norwegian and English in addition to the original language.

Several art projects were commissioned for the interior and exterior of the Opera House. The most notable is She Lies, a sculpture constructed of stainless steel and glass panels by Monica Bonvicini. It is permanently installed on a concrete platform in the fjord adjacent to Opera House and floats on the water moving in response to tides and wind to create an ever-changing face to viewers. The work was unveiled by Her Majesty Queen Sonja on 11 May 2010.

A perforated wall panel which covers roof supports in the lobby was designed by Olafur Eliasson. It features hexagonal opening and is illuminated from below and behind to create the illusion of melting ice. Other artists involved in the construction include Kristian Blystad, Jorunn Sannes and Kalle Grude, who designed the shape of the pavers on the forecourt and roof; Bodil Furu and Trine Lise Nedreaas, who created a film and video project; Marte Aas, Talleiv Taro Manum, Tom Sandberg, Gerd Tinglum and Nina Witoszek Fitzpatrick, who created the art book Site Seeing; and Linus Elmes and Ludvig Löfgren, who created the foundation stone.

The main stage curtain is the work of Pae White who designed it to look like crumpled aluminum foil. White scanned a crumpled piece of foil into a computer which translated the information to a loom that wove the curtain from wool, cotton and polyester to create a three-dimensional effect. The curtain was manufactured by the German-based theatrical equipment company Gerriets GmbH. The finished curtain measures 74 ft (23 m) wide and 36 ft (11 m) and weighs 1,100 lb (500 kg).

Important Info
Type: Opera in Concert
City: Oslo, Norway
Duration: 2h

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).

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