Calendar

Sep
28
Thu
2017
Salome, Strauß – Opernhaus Zürich
Sep 28 @ 7:30 pm – 9:30 pm
Musikalische Leitung Ulf Schirmer
Inszenierung Sven-Eric Bechtolf
Bühne Rolf Glittenberg
Kostüme Marianne Glittenberg
Lichtgestaltung Jürgen Hoffmann

 

Salome Catherine Naglestad
Herodias Doris Soffel
Jochanaan Thomas Johannes Mayer
Herodes Gerhard Siegel
Narraboth Evan LeRoy Johnson
Page der Herodias Deniz Uzun
Erster Jude Iain Milne
Zweiter Jude Omer Kobiljak
Dritter Jude Spencer Lang
Vierter Jude Jonathan Abernethy
Fünfter Jude Cody Quattlebaum
Erster Nazarener Ildo Song
Zweiter Nazarener Huw Montague Rendall
Erster Soldat Valeriy Murga
Zweiter Soldat N. N.
Sklave Natalia Tanasii
Ein Cappadozier Dmytro Kalmuchyn
Tänzerin Silvia Schori
Philharmonia Zürich
Statistenverein am Opernhaus Zürich
Oct
1
Sun
2017
Salome, Strauß – Opernhaus Zürich
Oct 1 @ 8:00 pm – 10:00 pm
Musikalische Leitung Ulf Schirmer
Inszenierung Sven-Eric Bechtolf
Bühne Rolf Glittenberg
Kostüme Marianne Glittenberg
Lichtgestaltung Jürgen Hoffmann

 

Salome Catherine Naglestad
Herodias Doris Soffel
Jochanaan Thomas Johannes Mayer
Herodes Gerhard Siegel
Narraboth Evan LeRoy Johnson
Page der Herodias Deniz Uzun
Erster Jude Iain Milne
Zweiter Jude Omer Kobiljak
Dritter Jude Spencer Lang
Vierter Jude Jonathan Abernethy
Fünfter Jude Cody Quattlebaum
Erster Nazarener Ildo Song
Zweiter Nazarener Huw Montague Rendall
Erster Soldat Valeriy Murga
Zweiter Soldat N. N.
Sklave Natalia Tanasii
Ein Cappadozier Dmytro Kalmuchyn
Tänzerin Silvia Schori
Philharmonia Zürich
Statistenverein am Opernhaus Zürich
Oct
8
Sun
2017
Salome, Strauß – Opernhaus Zürich
Oct 8 @ 2:00 pm – 4:00 pm
Musikalische Leitung Ulf Schirmer
Inszenierung Sven-Eric Bechtolf
Bühne Rolf Glittenberg
Kostüme Marianne Glittenberg
Lichtgestaltung Jürgen Hoffmann

 

Salome Catherine Naglestad
Herodias Doris Soffel
Jochanaan Thomas Johannes Mayer
Herodes Gerhard Siegel
Narraboth Evan LeRoy Johnson
Page der Herodias Deniz Uzun
Erster Jude Iain Milne
Zweiter Jude Omer Kobiljak
Dritter Jude Spencer Lang
Vierter Jude Jonathan Abernethy
Fünfter Jude Cody Quattlebaum
Erster Nazarener Ildo Song
Zweiter Nazarener Huw Montague Rendall
Erster Soldat Valeriy Murga
Zweiter Soldat N. N.
Sklave Natalia Tanasii
Ein Cappadozier Dmytro Kalmuchyn
Tänzerin Silvia Schori
Philharmonia Zürich
Statistenverein am Opernhaus Zürich
Oct
15
Sun
2017
Salome, Strauß – Opernhaus Zürich
Oct 15 @ 8:30 pm – 10:30 pm
Musikalische Leitung Ulf Schirmer
Inszenierung Sven-Eric Bechtolf
Bühne Rolf Glittenberg
Kostüme Marianne Glittenberg
Lichtgestaltung Jürgen Hoffmann

 

Salome Catherine Naglestad
Herodias Doris Soffel
Jochanaan Thomas Johannes Mayer
Herodes Gerhard Siegel
Narraboth Evan LeRoy Johnson
Page der Herodias Deniz Uzun
Erster Jude Iain Milne
Zweiter Jude Omer Kobiljak
Dritter Jude Spencer Lang
Vierter Jude Jonathan Abernethy
Fünfter Jude Cody Quattlebaum
Erster Nazarener Ildo Song
Zweiter Nazarener Huw Montague Rendall
Erster Soldat Valeriy Murga
Zweiter Soldat N. N.
Sklave Natalia Tanasii
Ein Cappadozier Dmytro Kalmuchyn
Tänzerin Silvia Schori
Philharmonia Zürich
Statistenverein am Opernhaus Zürich
Nov
5
Sun
2017
Aufstieg und Fall der Stadt Mahagonny, Weil – Opernhaus Zürich @ Opernhaus Zurich
Nov 5 @ 7:00 pm – 10:00 pm

Kurt Weill (1900-1950), Bertolt Brecht (1898-1956)
Opera in three acts

Anyone who does not enjoy himself in Mahagonny has only himself to blame. For in the paradise city constructed in the opera by Bertolt Brecht and Kurt Weill, everything is permitted. Boundless pleasures, intoxication to excess. Gorging, boxing, boozing, love-making – anything goes. Only one thing is strictly forbidden: being unable to pay at the end. This is the experience of the pleasure seeker Paul Ackermann, who ends up on the electric chair. Brecht/Weill’s Mahagonnyopera is a series of large-scale images from the workshops of epic musical theatre: anarchical protest and caustic social criticism. Kurt Weill’s apparently simple but always ambiguous music gains a zany momentum as it dances above the abyss, ranging from the tone of high opera to adaptations of shimmy and foxtrot rhythms to choral pastiche. Brecht wrote that the opera was culinary, but that it also put the culinary up for debate. It attacks a society that needs such operas. It is both an opera and an anti-opera, and ends with the demise of the “you can” paradise: it chokes on itself. Mahagonny has lost none of its topicality since its 1930 première, which was one of the biggest scandals in operatic history. Today, the laws of human happiness that Paul Ackermann discovers at a moment of great crisis can be read as a paean to 21st-century turbo-capitalism: “Take the money – you can!”

Our new production will be staged by the experienced Brecht director Sebastian Baumgarten, who achieved great artistic success at Zurich Opera House two years ago with Wolfgang Rihm’s Hamletmaschine. Could the flamboyant character part of Widow Begbick be more attractively cast as the star soprano Karita Mattila? The Finnish grande dame will be singing for the first time in an opera production at Zurich Opera House, débuting in the role of the determined founder of the city and bawd. The wonderful German soprano Annette Dasch will be giving her role début as the whore Jenny. Fabio Luisi will conduct this work, which he specifically requested.

 

Conductor Fabio Luisi
Producer Sebastian Baumgarten
Stage design Barbara Ehnes
Costumes Joki Tewes
Jana Findeklee
Lighting Elfried Roller
Video-Mitarbeit Chris Kondek
Choreographische Mitarbeit Kinsun Chan
Chorus master Janko Kastelic
Dramaturgy Claus Spahn
Orchestra Philharmonia Zürich
Choir Chor der Oper Zürich

 

Leokadja Begbick Karita Mattila
Willy, der Prokurist Michael Laurenz
Dreieinigkeitsmoses Christopher Purves
Jenny Hill Annette Dasch
Paul Ackermann Christopher Ventris
Jakob Schmidt Iain Milne
Heinrich, genannt Sparbüchsenbill Cheyne Davidson
Josef, genannt Alaskawolfjoe Ruben Drole
Tobby Higgins Jonathan Abernethy
Tänzer Laura Burgener
Juliette Rahon
Malou Meyenhofer
Rahel Merz
Benjamin Mathis
Evelyn Angela Gugolz
Steven Forster
Michal Czyz
Mathis Wagenbach
Yvonne Barthel
Nov
9
Thu
2017
Aufstieg und Fall der Stadt Mahagonny, Weil – Opernhaus Zürich @ Opernhaus Zurich
Nov 9 @ 7:00 pm – 10:00 pm

Kurt Weill (1900-1950), Bertolt Brecht (1898-1956)
Opera in three acts

Anyone who does not enjoy himself in Mahagonny has only himself to blame. For in the paradise city constructed in the opera by Bertolt Brecht and Kurt Weill, everything is permitted. Boundless pleasures, intoxication to excess. Gorging, boxing, boozing, love-making – anything goes. Only one thing is strictly forbidden: being unable to pay at the end. This is the experience of the pleasure seeker Paul Ackermann, who ends up on the electric chair. Brecht/Weill’s Mahagonnyopera is a series of large-scale images from the workshops of epic musical theatre: anarchical protest and caustic social criticism. Kurt Weill’s apparently simple but always ambiguous music gains a zany momentum as it dances above the abyss, ranging from the tone of high opera to adaptations of shimmy and foxtrot rhythms to choral pastiche. Brecht wrote that the opera was culinary, but that it also put the culinary up for debate. It attacks a society that needs such operas. It is both an opera and an anti-opera, and ends with the demise of the “you can” paradise: it chokes on itself. Mahagonny has lost none of its topicality since its 1930 première, which was one of the biggest scandals in operatic history. Today, the laws of human happiness that Paul Ackermann discovers at a moment of great crisis can be read as a paean to 21st-century turbo-capitalism: “Take the money – you can!”

Our new production will be staged by the experienced Brecht director Sebastian Baumgarten, who achieved great artistic success at Zurich Opera House two years ago with Wolfgang Rihm’s Hamletmaschine. Could the flamboyant character part of Widow Begbick be more attractively cast as the star soprano Karita Mattila? The Finnish grande dame will be singing for the first time in an opera production at Zurich Opera House, débuting in the role of the determined founder of the city and bawd. The wonderful German soprano Annette Dasch will be giving her role début as the whore Jenny. Fabio Luisi will conduct this work, which he specifically requested.

 

Conductor Fabio Luisi
Producer Sebastian Baumgarten
Stage design Barbara Ehnes
Costumes Joki Tewes
Jana Findeklee
Lighting Elfried Roller
Video-Mitarbeit Chris Kondek
Choreographische Mitarbeit Kinsun Chan
Chorus master Janko Kastelic
Dramaturgy Claus Spahn
Orchestra Philharmonia Zürich
Choir Chor der Oper Zürich

 

Leokadja Begbick Karita Mattila
Willy, der Prokurist Michael Laurenz
Dreieinigkeitsmoses Christopher Purves
Jenny Hill Annette Dasch
Paul Ackermann Christopher Ventris
Jakob Schmidt Iain Milne
Heinrich, genannt Sparbüchsenbill Cheyne Davidson
Josef, genannt Alaskawolfjoe Ruben Drole
Tobby Higgins Jonathan Abernethy
Tänzer Laura Burgener
Juliette Rahon
Malou Meyenhofer
Rahel Merz
Benjamin Mathis
Evelyn Angela Gugolz
Steven Forster
Michal Czyz
Mathis Wagenbach
Yvonne Barthel
Nov
12
Sun
2017
Aufstieg und Fall der Stadt Mahagonny, Weil – Opernhaus Zürich @ Opernhaus Zurich
Nov 12 @ 2:00 pm – 5:00 pm

Kurt Weill (1900-1950), Bertolt Brecht (1898-1956)
Opera in three acts

Anyone who does not enjoy himself in Mahagonny has only himself to blame. For in the paradise city constructed in the opera by Bertolt Brecht and Kurt Weill, everything is permitted. Boundless pleasures, intoxication to excess. Gorging, boxing, boozing, love-making – anything goes. Only one thing is strictly forbidden: being unable to pay at the end. This is the experience of the pleasure seeker Paul Ackermann, who ends up on the electric chair. Brecht/Weill’s Mahagonnyopera is a series of large-scale images from the workshops of epic musical theatre: anarchical protest and caustic social criticism. Kurt Weill’s apparently simple but always ambiguous music gains a zany momentum as it dances above the abyss, ranging from the tone of high opera to adaptations of shimmy and foxtrot rhythms to choral pastiche. Brecht wrote that the opera was culinary, but that it also put the culinary up for debate. It attacks a society that needs such operas. It is both an opera and an anti-opera, and ends with the demise of the “you can” paradise: it chokes on itself. Mahagonny has lost none of its topicality since its 1930 première, which was one of the biggest scandals in operatic history. Today, the laws of human happiness that Paul Ackermann discovers at a moment of great crisis can be read as a paean to 21st-century turbo-capitalism: “Take the money – you can!”

Our new production will be staged by the experienced Brecht director Sebastian Baumgarten, who achieved great artistic success at Zurich Opera House two years ago with Wolfgang Rihm’s Hamletmaschine. Could the flamboyant character part of Widow Begbick be more attractively cast as the star soprano Karita Mattila? The Finnish grande dame will be singing for the first time in an opera production at Zurich Opera House, débuting in the role of the determined founder of the city and bawd. The wonderful German soprano Annette Dasch will be giving her role début as the whore Jenny. Fabio Luisi will conduct this work, which he specifically requested.

 

Conductor Fabio Luisi
Producer Sebastian Baumgarten
Stage design Barbara Ehnes
Costumes Joki Tewes
Jana Findeklee
Lighting Elfried Roller
Video-Mitarbeit Chris Kondek
Choreographische Mitarbeit Kinsun Chan
Chorus master Janko Kastelic
Dramaturgy Claus Spahn
Orchestra Philharmonia Zürich
Choir Chor der Oper Zürich

 

Leokadja Begbick Karita Mattila
Willy, der Prokurist Michael Laurenz
Dreieinigkeitsmoses Christopher Purves
Jenny Hill Annette Dasch
Paul Ackermann Christopher Ventris
Jakob Schmidt Iain Milne
Heinrich, genannt Sparbüchsenbill Cheyne Davidson
Josef, genannt Alaskawolfjoe Ruben Drole
Tobby Higgins Jonathan Abernethy
Tänzer Laura Burgener
Juliette Rahon
Malou Meyenhofer
Rahel Merz
Benjamin Mathis
Evelyn Angela Gugolz
Steven Forster
Michal Czyz
Mathis Wagenbach
Yvonne Barthel
Nov
14
Tue
2017
Aufstieg und Fall der Stadt Mahagonny, Weil – Opernhaus Zürich @ Opernhaus Zurich
Nov 14 @ 7:00 pm – 10:00 pm

Kurt Weill (1900-1950), Bertolt Brecht (1898-1956)
Opera in three acts

Anyone who does not enjoy himself in Mahagonny has only himself to blame. For in the paradise city constructed in the opera by Bertolt Brecht and Kurt Weill, everything is permitted. Boundless pleasures, intoxication to excess. Gorging, boxing, boozing, love-making – anything goes. Only one thing is strictly forbidden: being unable to pay at the end. This is the experience of the pleasure seeker Paul Ackermann, who ends up on the electric chair. Brecht/Weill’s Mahagonnyopera is a series of large-scale images from the workshops of epic musical theatre: anarchical protest and caustic social criticism. Kurt Weill’s apparently simple but always ambiguous music gains a zany momentum as it dances above the abyss, ranging from the tone of high opera to adaptations of shimmy and foxtrot rhythms to choral pastiche. Brecht wrote that the opera was culinary, but that it also put the culinary up for debate. It attacks a society that needs such operas. It is both an opera and an anti-opera, and ends with the demise of the “you can” paradise: it chokes on itself. Mahagonny has lost none of its topicality since its 1930 première, which was one of the biggest scandals in operatic history. Today, the laws of human happiness that Paul Ackermann discovers at a moment of great crisis can be read as a paean to 21st-century turbo-capitalism: “Take the money – you can!”

Our new production will be staged by the experienced Brecht director Sebastian Baumgarten, who achieved great artistic success at Zurich Opera House two years ago with Wolfgang Rihm’s Hamletmaschine. Could the flamboyant character part of Widow Begbick be more attractively cast as the star soprano Karita Mattila? The Finnish grande dame will be singing for the first time in an opera production at Zurich Opera House, débuting in the role of the determined founder of the city and bawd. The wonderful German soprano Annette Dasch will be giving her role début as the whore Jenny. Fabio Luisi will conduct this work, which he specifically requested.

 

Conductor Fabio Luisi
Producer Sebastian Baumgarten
Stage design Barbara Ehnes
Costumes Joki Tewes
Jana Findeklee
Lighting Elfried Roller
Video-Mitarbeit Chris Kondek
Choreographische Mitarbeit Kinsun Chan
Chorus master Janko Kastelic
Dramaturgy Claus Spahn
Orchestra Philharmonia Zürich
Choir Chor der Oper Zürich

 

Leokadja Begbick Karita Mattila
Willy, der Prokurist Michael Laurenz
Dreieinigkeitsmoses Christopher Purves
Jenny Hill Annette Dasch
Paul Ackermann Christopher Ventris
Jakob Schmidt Iain Milne
Heinrich, genannt Sparbüchsenbill Cheyne Davidson
Josef, genannt Alaskawolfjoe Ruben Drole
Tobby Higgins Jonathan Abernethy
Tänzer Laura Burgener
Juliette Rahon
Malou Meyenhofer
Rahel Merz
Benjamin Mathis
Evelyn Angela Gugolz
Steven Forster
Michal Czyz
Mathis Wagenbach
Yvonne Barthel
Nov
17
Fri
2017
Aufstieg und Fall der Stadt Mahagonny, Weil – Opernhaus Zürich @ Opernhaus Zurich
Nov 17 @ 7:00 pm – 10:00 pm

Kurt Weill (1900-1950), Bertolt Brecht (1898-1956)
Opera in three acts

Anyone who does not enjoy himself in Mahagonny has only himself to blame. For in the paradise city constructed in the opera by Bertolt Brecht and Kurt Weill, everything is permitted. Boundless pleasures, intoxication to excess. Gorging, boxing, boozing, love-making – anything goes. Only one thing is strictly forbidden: being unable to pay at the end. This is the experience of the pleasure seeker Paul Ackermann, who ends up on the electric chair. Brecht/Weill’s Mahagonnyopera is a series of large-scale images from the workshops of epic musical theatre: anarchical protest and caustic social criticism. Kurt Weill’s apparently simple but always ambiguous music gains a zany momentum as it dances above the abyss, ranging from the tone of high opera to adaptations of shimmy and foxtrot rhythms to choral pastiche. Brecht wrote that the opera was culinary, but that it also put the culinary up for debate. It attacks a society that needs such operas. It is both an opera and an anti-opera, and ends with the demise of the “you can” paradise: it chokes on itself. Mahagonny has lost none of its topicality since its 1930 première, which was one of the biggest scandals in operatic history. Today, the laws of human happiness that Paul Ackermann discovers at a moment of great crisis can be read as a paean to 21st-century turbo-capitalism: “Take the money – you can!”

Our new production will be staged by the experienced Brecht director Sebastian Baumgarten, who achieved great artistic success at Zurich Opera House two years ago with Wolfgang Rihm’s Hamletmaschine. Could the flamboyant character part of Widow Begbick be more attractively cast as the star soprano Karita Mattila? The Finnish grande dame will be singing for the first time in an opera production at Zurich Opera House, débuting in the role of the determined founder of the city and bawd. The wonderful German soprano Annette Dasch will be giving her role début as the whore Jenny. Fabio Luisi will conduct this work, which he specifically requested.

 

Conductor Fabio Luisi
Producer Sebastian Baumgarten
Stage design Barbara Ehnes
Costumes Joki Tewes
Jana Findeklee
Lighting Elfried Roller
Video-Mitarbeit Chris Kondek
Choreographische Mitarbeit Kinsun Chan
Chorus master Janko Kastelic
Dramaturgy Claus Spahn
Orchestra Philharmonia Zürich
Choir Chor der Oper Zürich

 

Leokadja Begbick Karita Mattila
Willy, der Prokurist Michael Laurenz
Dreieinigkeitsmoses Christopher Purves
Jenny Hill Annette Dasch
Paul Ackermann Christopher Ventris
Jakob Schmidt Iain Milne
Heinrich, genannt Sparbüchsenbill Cheyne Davidson
Josef, genannt Alaskawolfjoe Ruben Drole
Tobby Higgins Jonathan Abernethy
Tänzer Laura Burgener
Juliette Rahon
Malou Meyenhofer
Rahel Merz
Benjamin Mathis
Evelyn Angela Gugolz
Steven Forster
Michal Czyz
Mathis Wagenbach
Yvonne Barthel
Nov
19
Sun
2017
Aufstieg und Fall der Stadt Mahagonny, Weil – Opernhaus Zürich @ Opernhaus Zurich
Nov 19 @ 8:00 pm – 11:00 pm

Kurt Weill (1900-1950), Bertolt Brecht (1898-1956)
Opera in three acts

Anyone who does not enjoy himself in Mahagonny has only himself to blame. For in the paradise city constructed in the opera by Bertolt Brecht and Kurt Weill, everything is permitted. Boundless pleasures, intoxication to excess. Gorging, boxing, boozing, love-making – anything goes. Only one thing is strictly forbidden: being unable to pay at the end. This is the experience of the pleasure seeker Paul Ackermann, who ends up on the electric chair. Brecht/Weill’s Mahagonnyopera is a series of large-scale images from the workshops of epic musical theatre: anarchical protest and caustic social criticism. Kurt Weill’s apparently simple but always ambiguous music gains a zany momentum as it dances above the abyss, ranging from the tone of high opera to adaptations of shimmy and foxtrot rhythms to choral pastiche. Brecht wrote that the opera was culinary, but that it also put the culinary up for debate. It attacks a society that needs such operas. It is both an opera and an anti-opera, and ends with the demise of the “you can” paradise: it chokes on itself. Mahagonny has lost none of its topicality since its 1930 première, which was one of the biggest scandals in operatic history. Today, the laws of human happiness that Paul Ackermann discovers at a moment of great crisis can be read as a paean to 21st-century turbo-capitalism: “Take the money – you can!”

Our new production will be staged by the experienced Brecht director Sebastian Baumgarten, who achieved great artistic success at Zurich Opera House two years ago with Wolfgang Rihm’s Hamletmaschine. Could the flamboyant character part of Widow Begbick be more attractively cast as the star soprano Karita Mattila? The Finnish grande dame will be singing for the first time in an opera production at Zurich Opera House, débuting in the role of the determined founder of the city and bawd. The wonderful German soprano Annette Dasch will be giving her role début as the whore Jenny. Fabio Luisi will conduct this work, which he specifically requested.

 

Conductor Fabio Luisi
Producer Sebastian Baumgarten
Stage design Barbara Ehnes
Costumes Joki Tewes
Jana Findeklee
Lighting Elfried Roller
Video-Mitarbeit Chris Kondek
Choreographische Mitarbeit Kinsun Chan
Chorus master Janko Kastelic
Dramaturgy Claus Spahn
Orchestra Philharmonia Zürich
Choir Chor der Oper Zürich

 

Leokadja Begbick Karita Mattila
Willy, der Prokurist Michael Laurenz
Dreieinigkeitsmoses Christopher Purves
Jenny Hill Annette Dasch
Paul Ackermann Christopher Ventris
Jakob Schmidt Iain Milne
Heinrich, genannt Sparbüchsenbill Cheyne Davidson
Josef, genannt Alaskawolfjoe Ruben Drole
Tobby Higgins Jonathan Abernethy
Tänzer Laura Burgener
Juliette Rahon
Malou Meyenhofer
Rahel Merz
Benjamin Mathis
Evelyn Angela Gugolz
Steven Forster
Michal Czyz
Mathis Wagenbach
Yvonne Barthel
Nov
22
Wed
2017
Aufstieg und Fall der Stadt Mahagonny, Weil – Opernhaus Zürich @ Opernhaus Zurich
Nov 22 @ 7:00 pm – 10:00 pm

Kurt Weill (1900-1950), Bertolt Brecht (1898-1956)
Opera in three acts

Anyone who does not enjoy himself in Mahagonny has only himself to blame. For in the paradise city constructed in the opera by Bertolt Brecht and Kurt Weill, everything is permitted. Boundless pleasures, intoxication to excess. Gorging, boxing, boozing, love-making – anything goes. Only one thing is strictly forbidden: being unable to pay at the end. This is the experience of the pleasure seeker Paul Ackermann, who ends up on the electric chair. Brecht/Weill’s Mahagonnyopera is a series of large-scale images from the workshops of epic musical theatre: anarchical protest and caustic social criticism. Kurt Weill’s apparently simple but always ambiguous music gains a zany momentum as it dances above the abyss, ranging from the tone of high opera to adaptations of shimmy and foxtrot rhythms to choral pastiche. Brecht wrote that the opera was culinary, but that it also put the culinary up for debate. It attacks a society that needs such operas. It is both an opera and an anti-opera, and ends with the demise of the “you can” paradise: it chokes on itself. Mahagonny has lost none of its topicality since its 1930 première, which was one of the biggest scandals in operatic history. Today, the laws of human happiness that Paul Ackermann discovers at a moment of great crisis can be read as a paean to 21st-century turbo-capitalism: “Take the money – you can!”

Our new production will be staged by the experienced Brecht director Sebastian Baumgarten, who achieved great artistic success at Zurich Opera House two years ago with Wolfgang Rihm’s Hamletmaschine. Could the flamboyant character part of Widow Begbick be more attractively cast as the star soprano Karita Mattila? The Finnish grande dame will be singing for the first time in an opera production at Zurich Opera House, débuting in the role of the determined founder of the city and bawd. The wonderful German soprano Annette Dasch will be giving her role début as the whore Jenny. Fabio Luisi will conduct this work, which he specifically requested.

 

Conductor Fabio Luisi
Producer Sebastian Baumgarten
Stage design Barbara Ehnes
Costumes Joki Tewes
Jana Findeklee
Lighting Elfried Roller
Video-Mitarbeit Chris Kondek
Choreographische Mitarbeit Kinsun Chan
Chorus master Janko Kastelic
Dramaturgy Claus Spahn
Orchestra Philharmonia Zürich
Choir Chor der Oper Zürich

 

Leokadja Begbick Karita Mattila
Willy, der Prokurist Michael Laurenz
Dreieinigkeitsmoses Christopher Purves
Jenny Hill Annette Dasch
Paul Ackermann Christopher Ventris
Jakob Schmidt Iain Milne
Heinrich, genannt Sparbüchsenbill Cheyne Davidson
Josef, genannt Alaskawolfjoe Ruben Drole
Tobby Higgins Jonathan Abernethy
Tänzer Laura Burgener
Juliette Rahon
Malou Meyenhofer
Rahel Merz
Benjamin Mathis
Evelyn Angela Gugolz
Steven Forster
Michal Czyz
Mathis Wagenbach
Yvonne Barthel
Nov
24
Fri
2017
Aufstieg und Fall der Stadt Mahagonny, Weil – Opernhaus Zürich @ Opernhaus Zurich
Nov 24 @ 8:00 pm – 11:00 pm

Kurt Weill (1900-1950), Bertolt Brecht (1898-1956)
Opera in three acts

Anyone who does not enjoy himself in Mahagonny has only himself to blame. For in the paradise city constructed in the opera by Bertolt Brecht and Kurt Weill, everything is permitted. Boundless pleasures, intoxication to excess. Gorging, boxing, boozing, love-making – anything goes. Only one thing is strictly forbidden: being unable to pay at the end. This is the experience of the pleasure seeker Paul Ackermann, who ends up on the electric chair. Brecht/Weill’s Mahagonnyopera is a series of large-scale images from the workshops of epic musical theatre: anarchical protest and caustic social criticism. Kurt Weill’s apparently simple but always ambiguous music gains a zany momentum as it dances above the abyss, ranging from the tone of high opera to adaptations of shimmy and foxtrot rhythms to choral pastiche. Brecht wrote that the opera was culinary, but that it also put the culinary up for debate. It attacks a society that needs such operas. It is both an opera and an anti-opera, and ends with the demise of the “you can” paradise: it chokes on itself. Mahagonny has lost none of its topicality since its 1930 première, which was one of the biggest scandals in operatic history. Today, the laws of human happiness that Paul Ackermann discovers at a moment of great crisis can be read as a paean to 21st-century turbo-capitalism: “Take the money – you can!”

Our new production will be staged by the experienced Brecht director Sebastian Baumgarten, who achieved great artistic success at Zurich Opera House two years ago with Wolfgang Rihm’s Hamletmaschine. Could the flamboyant character part of Widow Begbick be more attractively cast as the star soprano Karita Mattila? The Finnish grande dame will be singing for the first time in an opera production at Zurich Opera House, débuting in the role of the determined founder of the city and bawd. The wonderful German soprano Annette Dasch will be giving her role début as the whore Jenny. Fabio Luisi will conduct this work, which he specifically requested.

 

Conductor Fabio Luisi
Producer Sebastian Baumgarten
Stage design Barbara Ehnes
Costumes Joki Tewes
Jana Findeklee
Lighting Elfried Roller
Video-Mitarbeit Chris Kondek
Choreographische Mitarbeit Kinsun Chan
Chorus master Janko Kastelic
Dramaturgy Claus Spahn
Orchestra Philharmonia Zürich
Choir Chor der Oper Zürich

 

Leokadja Begbick Karita Mattila
Willy, der Prokurist Michael Laurenz
Dreieinigkeitsmoses Christopher Purves
Jenny Hill Annette Dasch
Paul Ackermann Christopher Ventris
Jakob Schmidt Iain Milne
Heinrich, genannt Sparbüchsenbill Cheyne Davidson
Josef, genannt Alaskawolfjoe Ruben Drole
Tobby Higgins Jonathan Abernethy
Tänzer Laura Burgener
Juliette Rahon
Malou Meyenhofer
Rahel Merz
Benjamin Mathis
Evelyn Angela Gugolz
Steven Forster
Michal Czyz
Mathis Wagenbach
Yvonne Barthel
Nov
26
Sun
2017
Fidelio, Beethoven – Opernhaus Zürich @ Opernhaus Zurich
Nov 26 @ 7:30 pm – 9:30 pm

Opera in two acts
Libretto by Joseph Ferdinand Sonnleithner and Georg Friedrich Treitschke

They were last to be seen as Elsa and Lohengrin on the stage of Zurich Opera House, and will now return to Zurich as Leonore and Florestan: South African soprano Elza van den Heever and German tenor Klaus Florian Vogt. At the centre of Andreas Homoki’s compelling Fidelio production is the strong and courageous Leonore, who insinuates herself into a state prison disguised as a man by the name of Fidelio in order to free her husband Florestan. Beethoven’s only opera was written over a ten-year period as a work in progress. It combines Singspiel elements with those of dramatic opera, and ends with a piece of music that not only lends prodigious expression to the idea of liberation, but also already anticipates the Ninth Symphony’s Ode to Joy. Andreas Homoki has removed the plot from its petit bourgeois, light opera context, telling the story in an abstract prison space and thus focusing on the utopian idea of universal brotherhood and global humanity that is at the core of Beethoven’s work. Simone Young, who has already conducted the Philharmonia Zurich in Wagner’s Lohengrin, will be at the rostrum for this revival.

Conductor Simone Young
Producer Andreas Homoki
Stage design Henrik Ahr
Costumes Barbara Drosihn
Light-Design Franck Evin
Video-Design Alexander du Prel
Chorus master Ernst Raffelsberger
Dramaturgy Werner Hintze
Orchestra Philharmonia Zürich
Choir Chor der Oper Zürich
Zusatzchor der Oper Zürich
SoprAlti der Oper Zürich

 

Don Fernando Oliver Widmer
Don Pizarro Martin Gantner
Florestan Klaus Florian Vogt
Leonore Elza van den Heever
Rocco Christof Fischesser
Marzelline Mélissa Petit
Jaquino Spencer Lang
Erster Gefangener Jonathan Abernethy
Zweiter Gefangener Alexander Kiechle
Nov
30
Thu
2017
Fidelio, Beethoven – Opernhaus Zürich @ Opernhaus Zurich
Nov 30 @ 7:00 pm – 9:00 pm

Opera in two acts
Libretto by Joseph Ferdinand Sonnleithner and Georg Friedrich Treitschke

They were last to be seen as Elsa and Lohengrin on the stage of Zurich Opera House, and will now return to Zurich as Leonore and Florestan: South African soprano Elza van den Heever and German tenor Klaus Florian Vogt. At the centre of Andreas Homoki’s compelling Fidelio production is the strong and courageous Leonore, who insinuates herself into a state prison disguised as a man by the name of Fidelio in order to free her husband Florestan. Beethoven’s only opera was written over a ten-year period as a work in progress. It combines Singspiel elements with those of dramatic opera, and ends with a piece of music that not only lends prodigious expression to the idea of liberation, but also already anticipates the Ninth Symphony’s Ode to Joy. Andreas Homoki has removed the plot from its petit bourgeois, light opera context, telling the story in an abstract prison space and thus focusing on the utopian idea of universal brotherhood and global humanity that is at the core of Beethoven’s work. Simone Young, who has already conducted the Philharmonia Zurich in Wagner’s Lohengrin, will be at the rostrum for this revival.

Conductor Simone Young
Producer Andreas Homoki
Stage design Henrik Ahr
Costumes Barbara Drosihn
Light-Design Franck Evin
Video-Design Alexander du Prel
Chorus master Ernst Raffelsberger
Dramaturgy Werner Hintze
Orchestra Philharmonia Zürich
Choir Chor der Oper Zürich
Zusatzchor der Oper Zürich
SoprAlti der Oper Zürich

 

Don Fernando Oliver Widmer
Don Pizarro Martin Gantner
Florestan Klaus Florian Vogt
Leonore Elza van den Heever
Rocco Christof Fischesser
Marzelline Mélissa Petit
Jaquino Spencer Lang
Erster Gefangener Jonathan Abernethy
Zweiter Gefangener Alexander Kiechle
Dec
3
Sun
2017
Fidelio, Beethoven – Opernhaus Zürich @ Opernhaus Zurich
Dec 3 @ 7:30 pm – 9:30 pm

Opera in two acts
Libretto by Joseph Ferdinand Sonnleithner and Georg Friedrich Treitschke

They were last to be seen as Elsa and Lohengrin on the stage of Zurich Opera House, and will now return to Zurich as Leonore and Florestan: South African soprano Elza van den Heever and German tenor Klaus Florian Vogt. At the centre of Andreas Homoki’s compelling Fidelio production is the strong and courageous Leonore, who insinuates herself into a state prison disguised as a man by the name of Fidelio in order to free her husband Florestan. Beethoven’s only opera was written over a ten-year period as a work in progress. It combines Singspiel elements with those of dramatic opera, and ends with a piece of music that not only lends prodigious expression to the idea of liberation, but also already anticipates the Ninth Symphony’s Ode to Joy. Andreas Homoki has removed the plot from its petit bourgeois, light opera context, telling the story in an abstract prison space and thus focusing on the utopian idea of universal brotherhood and global humanity that is at the core of Beethoven’s work. Simone Young, who has already conducted the Philharmonia Zurich in Wagner’s Lohengrin, will be at the rostrum for this revival.

Conductor Simone Young
Producer Andreas Homoki
Stage design Henrik Ahr
Costumes Barbara Drosihn
Light-Design Franck Evin
Video-Design Alexander du Prel
Chorus master Ernst Raffelsberger
Dramaturgy Werner Hintze
Orchestra Philharmonia Zürich
Choir Chor der Oper Zürich
Zusatzchor der Oper Zürich
SoprAlti der Oper Zürich

 

Don Fernando Oliver Widmer
Don Pizarro Martin Gantner
Florestan Klaus Florian Vogt
Leonore Elza van den Heever
Rocco Christof Fischesser
Marzelline Mélissa Petit
Jaquino Spencer Lang
Erster Gefangener Jonathan Abernethy
Zweiter Gefangener Alexander Kiechle
Dec
8
Fri
2017
Fidelio, Beethoven – Opernhaus Zürich @ Opernhaus Zurich
Dec 8 @ 7:00 pm – 9:00 pm

Opera in two acts
Libretto by Joseph Ferdinand Sonnleithner and Georg Friedrich Treitschke

They were last to be seen as Elsa and Lohengrin on the stage of Zurich Opera House, and will now return to Zurich as Leonore and Florestan: South African soprano Elza van den Heever and German tenor Klaus Florian Vogt. At the centre of Andreas Homoki’s compelling Fidelio production is the strong and courageous Leonore, who insinuates herself into a state prison disguised as a man by the name of Fidelio in order to free her husband Florestan. Beethoven’s only opera was written over a ten-year period as a work in progress. It combines Singspiel elements with those of dramatic opera, and ends with a piece of music that not only lends prodigious expression to the idea of liberation, but also already anticipates the Ninth Symphony’s Ode to Joy. Andreas Homoki has removed the plot from its petit bourgeois, light opera context, telling the story in an abstract prison space and thus focusing on the utopian idea of universal brotherhood and global humanity that is at the core of Beethoven’s work. Simone Young, who has already conducted the Philharmonia Zurich in Wagner’s Lohengrin, will be at the rostrum for this revival.

Conductor Simone Young
Producer Andreas Homoki
Stage design Henrik Ahr
Costumes Barbara Drosihn
Light-Design Franck Evin
Video-Design Alexander du Prel
Chorus master Ernst Raffelsberger
Dramaturgy Werner Hintze
Orchestra Philharmonia Zürich
Choir Chor der Oper Zürich
Zusatzchor der Oper Zürich
SoprAlti der Oper Zürich

 

Don Fernando Oliver Widmer
Don Pizarro Martin Gantner
Florestan Klaus Florian Vogt
Leonore Elza van den Heever
Rocco Christof Fischesser
Marzelline Mélissa Petit
Jaquino Spencer Lang
Erster Gefangener Jonathan Abernethy
Zweiter Gefangener Alexander Kiechle
Dec
13
Wed
2017
Fidelio, Beethoven – Opernhaus Zürich @ Opernhaus Zurich
Dec 13 @ 7:30 pm – 9:30 pm

Opera in two acts
Libretto by Joseph Ferdinand Sonnleithner and Georg Friedrich Treitschke

They were last to be seen as Elsa and Lohengrin on the stage of Zurich Opera House, and will now return to Zurich as Leonore and Florestan: South African soprano Elza van den Heever and German tenor Klaus Florian Vogt. At the centre of Andreas Homoki’s compelling Fidelio production is the strong and courageous Leonore, who insinuates herself into a state prison disguised as a man by the name of Fidelio in order to free her husband Florestan. Beethoven’s only opera was written over a ten-year period as a work in progress. It combines Singspiel elements with those of dramatic opera, and ends with a piece of music that not only lends prodigious expression to the idea of liberation, but also already anticipates the Ninth Symphony’s Ode to Joy. Andreas Homoki has removed the plot from its petit bourgeois, light opera context, telling the story in an abstract prison space and thus focusing on the utopian idea of universal brotherhood and global humanity that is at the core of Beethoven’s work. Simone Young, who has already conducted the Philharmonia Zurich in Wagner’s Lohengrin, will be at the rostrum for this revival.

Conductor Simone Young
Producer Andreas Homoki
Stage design Henrik Ahr
Costumes Barbara Drosihn
Light-Design Franck Evin
Video-Design Alexander du Prel
Chorus master Ernst Raffelsberger
Dramaturgy Werner Hintze
Orchestra Philharmonia Zürich
Choir Chor der Oper Zürich
Zusatzchor der Oper Zürich
SoprAlti der Oper Zürich

 

Don Fernando Oliver Widmer
Don Pizarro Martin Gantner
Florestan Klaus Florian Vogt
Leonore Elza van den Heever
Rocco Christof Fischesser
Marzelline Mélissa Petit
Jaquino Spencer Lang
Erster Gefangener Jonathan Abernethy
Zweiter Gefangener Alexander Kiechle
Dec
21
Thu
2017
La fanciulla del West, Puccini – Opernhaus Zürich
Dec 21 @ 7:00 pm – 9:45 pm

Giacomo Puccini’s opera, which premièred in 1910, is frequently staged as a western with a saloon and smoking revolvers. However, in his Zurich production, director Barrie Kosky tells the story of the barkeeper Minnie, who lives alone among men in a gold-diggers’’ camp in the Wild West, as a thriller featuring desolate, lonely people fighting desperately to make their living and for redemption through love “in the last bar, in the very last village, at the godforsaken end of the world.” Kosky has been inspired by the stylistic devices of great American cinema, which Puccini anticipated in his score with film-like suspense and compositional realism. The squalid world of a filthy bar, Minnie’s hut, a poky, miserable little room, and a ruined house full of mud in the gangster-chase finale provide him with the external setting for a production full of tension: Kosky brings an enthralling Puccini crime thriller featuring both love interest and action scenes to the stage. As at the première, the charismatic Catherine Naglestad as Minnie and the strong character actor Scott Hendricks as the rough-and-ready Sheriff Rance make for a theatrically highly effective pair of antagonists. Brandon Jovanovich – already well known in Zurich as Sergej, Florestan or Drum major – will be débuting in the starring tenor role of Dick Johnson.

Conductor Marco Armiliato
Producer Barrie Kosky
Stage design Rufus Didwiszus
Costumes Klaus Bruns
Light-Design Franck Evin
Chorus master Ernst Raffelsberger
Dramaturgy Claus Spahn
Orchestra Philharmonia Zürich
Choir Chor der Oper Zürich

 

Minnie Catherine Naglestad
Dick Johnson Brandon Jovanovich
Jack Rance Scott Hendricks
Nick Jamez McCorkle
Ashby Pavel Daniluk
Sonora Cheyne Davidson
Trin Jonathan Abernethy
Sid Valeriy Murga
Harry Thobela Ntshanyana
Joe Boguslaw Bidzinski
Happy Dmytro Kalmuchyn
Larkens Cody Quattlebaum
Billy Jackrabbit Donald Thomson
Wowkle Karina Demurova
Jack Wallace Yuriy Tsiple
José Castro Alexander Kiechle
Un Postiglione Omer Kobiljak
Dec
26
Tue
2017
La fanciulla del West, Puccini – Opernhaus Zürich
Dec 26 @ 8:00 pm – 10:45 pm

Giacomo Puccini’s opera, which premièred in 1910, is frequently staged as a western with a saloon and smoking revolvers. However, in his Zurich production, director Barrie Kosky tells the story of the barkeeper Minnie, who lives alone among men in a gold-diggers’’ camp in the Wild West, as a thriller featuring desolate, lonely people fighting desperately to make their living and for redemption through love “in the last bar, in the very last village, at the godforsaken end of the world.” Kosky has been inspired by the stylistic devices of great American cinema, which Puccini anticipated in his score with film-like suspense and compositional realism. The squalid world of a filthy bar, Minnie’s hut, a poky, miserable little room, and a ruined house full of mud in the gangster-chase finale provide him with the external setting for a production full of tension: Kosky brings an enthralling Puccini crime thriller featuring both love interest and action scenes to the stage. As at the première, the charismatic Catherine Naglestad as Minnie and the strong character actor Scott Hendricks as the rough-and-ready Sheriff Rance make for a theatrically highly effective pair of antagonists. Brandon Jovanovich – already well known in Zurich as Sergej, Florestan or Drum major – will be débuting in the starring tenor role of Dick Johnson.

Conductor Marco Armiliato
Producer Barrie Kosky
Stage design Rufus Didwiszus
Costumes Klaus Bruns
Light-Design Franck Evin
Chorus master Ernst Raffelsberger
Dramaturgy Claus Spahn
Orchestra Philharmonia Zürich
Choir Chor der Oper Zürich

 

Minnie Catherine Naglestad
Dick Johnson Brandon Jovanovich
Jack Rance Scott Hendricks
Nick Jamez McCorkle
Ashby Pavel Daniluk
Sonora Cheyne Davidson
Trin Jonathan Abernethy
Sid Valeriy Murga
Harry Thobela Ntshanyana
Joe Boguslaw Bidzinski
Happy Dmytro Kalmuchyn
Larkens Cody Quattlebaum
Billy Jackrabbit Donald Thomson
Wowkle Karina Demurova
Jack Wallace Yuriy Tsiple
José Castro Alexander Kiechle
Un Postiglione Omer Kobiljak
Dec
30
Sat
2017
La fanciulla del West, Puccini – Opernhaus Zürich
Dec 30 @ 7:00 pm – 9:45 pm

Giacomo Puccini’s opera, which premièred in 1910, is frequently staged as a western with a saloon and smoking revolvers. However, in his Zurich production, director Barrie Kosky tells the story of the barkeeper Minnie, who lives alone among men in a gold-diggers’’ camp in the Wild West, as a thriller featuring desolate, lonely people fighting desperately to make their living and for redemption through love “in the last bar, in the very last village, at the godforsaken end of the world.” Kosky has been inspired by the stylistic devices of great American cinema, which Puccini anticipated in his score with film-like suspense and compositional realism. The squalid world of a filthy bar, Minnie’s hut, a poky, miserable little room, and a ruined house full of mud in the gangster-chase finale provide him with the external setting for a production full of tension: Kosky brings an enthralling Puccini crime thriller featuring both love interest and action scenes to the stage. As at the première, the charismatic Catherine Naglestad as Minnie and the strong character actor Scott Hendricks as the rough-and-ready Sheriff Rance make for a theatrically highly effective pair of antagonists. Brandon Jovanovich – already well known in Zurich as Sergej, Florestan or Drum major – will be débuting in the starring tenor role of Dick Johnson.

Conductor Marco Armiliato
Producer Barrie Kosky
Stage design Rufus Didwiszus
Costumes Klaus Bruns
Light-Design Franck Evin
Chorus master Ernst Raffelsberger
Dramaturgy Claus Spahn
Orchestra Philharmonia Zürich
Choir Chor der Oper Zürich

 

Minnie Catherine Naglestad
Dick Johnson Brandon Jovanovich
Jack Rance Scott Hendricks
Nick Jamez McCorkle
Ashby Pavel Daniluk
Sonora Cheyne Davidson
Trin Jonathan Abernethy
Sid Valeriy Murga
Harry Thobela Ntshanyana
Joe Boguslaw Bidzinski
Happy Dmytro Kalmuchyn
Larkens Cody Quattlebaum
Billy Jackrabbit Donald Thomson
Wowkle Karina Demurova
Jack Wallace Yuriy Tsiple
José Castro Alexander Kiechle
Un Postiglione Omer Kobiljak
Jan
7
Sun
2018
La fanciulla del West, Puccini – Opernhaus Zürich
Jan 7 @ 2:00 pm – 4:45 pm

Giacomo Puccini’s opera, which premièred in 1910, is frequently staged as a western with a saloon and smoking revolvers. However, in his Zurich production, director Barrie Kosky tells the story of the barkeeper Minnie, who lives alone among men in a gold-diggers’’ camp in the Wild West, as a thriller featuring desolate, lonely people fighting desperately to make their living and for redemption through love “in the last bar, in the very last village, at the godforsaken end of the world.” Kosky has been inspired by the stylistic devices of great American cinema, which Puccini anticipated in his score with film-like suspense and compositional realism. The squalid world of a filthy bar, Minnie’s hut, a poky, miserable little room, and a ruined house full of mud in the gangster-chase finale provide him with the external setting for a production full of tension: Kosky brings an enthralling Puccini crime thriller featuring both love interest and action scenes to the stage. As at the première, the charismatic Catherine Naglestad as Minnie and the strong character actor Scott Hendricks as the rough-and-ready Sheriff Rance make for a theatrically highly effective pair of antagonists. Brandon Jovanovich – already well known in Zurich as Sergej, Florestan or Drum major – will be débuting in the starring tenor role of Dick Johnson.

Conductor Marco Armiliato
Producer Barrie Kosky
Stage design Rufus Didwiszus
Costumes Klaus Bruns
Light-Design Franck Evin
Chorus master Ernst Raffelsberger
Dramaturgy Claus Spahn
Orchestra Philharmonia Zürich
Choir Chor der Oper Zürich

 

Minnie Catherine Naglestad
Dick Johnson Brandon Jovanovich
Jack Rance Scott Hendricks
Nick Jamez McCorkle
Ashby Pavel Daniluk
Sonora Cheyne Davidson
Trin Jonathan Abernethy
Sid Valeriy Murga
Harry Thobela Ntshanyana
Joe Boguslaw Bidzinski
Happy Dmytro Kalmuchyn
Larkens Cody Quattlebaum
Billy Jackrabbit Donald Thomson
Wowkle Karina Demurova
Jack Wallace Yuriy Tsiple
José Castro Alexander Kiechle
Un Postiglione Omer Kobiljak
Jan
12
Fri
2018
La fanciulla del West, Puccini – Opernhaus Zürich
Jan 12 @ 7:00 pm – 9:45 pm

Giacomo Puccini’s opera, which premièred in 1910, is frequently staged as a western with a saloon and smoking revolvers. However, in his Zurich production, director Barrie Kosky tells the story of the barkeeper Minnie, who lives alone among men in a gold-diggers’’ camp in the Wild West, as a thriller featuring desolate, lonely people fighting desperately to make their living and for redemption through love “in the last bar, in the very last village, at the godforsaken end of the world.” Kosky has been inspired by the stylistic devices of great American cinema, which Puccini anticipated in his score with film-like suspense and compositional realism. The squalid world of a filthy bar, Minnie’s hut, a poky, miserable little room, and a ruined house full of mud in the gangster-chase finale provide him with the external setting for a production full of tension: Kosky brings an enthralling Puccini crime thriller featuring both love interest and action scenes to the stage. As at the première, the charismatic Catherine Naglestad as Minnie and the strong character actor Scott Hendricks as the rough-and-ready Sheriff Rance make for a theatrically highly effective pair of antagonists. Brandon Jovanovich – already well known in Zurich as Sergej, Florestan or Drum major – will be débuting in the starring tenor role of Dick Johnson.

Conductor Marco Armiliato
Producer Barrie Kosky
Stage design Rufus Didwiszus
Costumes Klaus Bruns
Light-Design Franck Evin
Chorus master Ernst Raffelsberger
Dramaturgy Claus Spahn
Orchestra Philharmonia Zürich
Choir Chor der Oper Zürich

 

Minnie Catherine Naglestad
Dick Johnson Brandon Jovanovich
Jack Rance Scott Hendricks
Nick Jamez McCorkle
Ashby Pavel Daniluk
Sonora Cheyne Davidson
Trin Jonathan Abernethy
Sid Valeriy Murga
Harry Thobela Ntshanyana
Joe Boguslaw Bidzinski
Happy Dmytro Kalmuchyn
Larkens Cody Quattlebaum
Billy Jackrabbit Donald Thomson
Wowkle Karina Demurova
Jack Wallace Yuriy Tsiple
José Castro Alexander Kiechle
Un Postiglione Omer Kobiljak