from Monday 24 to Thursday 27 April 2023, 3 nights 
Arrangement 34
Der Freischütz
C. M. von Weber
Carl Maria von Weber (1786-1826) was not the first composer to base his operas on texts written in German, but his “Freischütz” was instrumental in shaping and establishing the genre of German-language opera.
Von Weber began work on “Freischütz” in 1817, and the libretto was penned by Friedrich Kind, with whom von Weber also maintained a friendly relationship. Von Weber not only conducted the premiere at the Königliches Schauspielhaus Berlin in the summer of 1821, but was also responsible for the stage design and lighting.
For the young marksman Max, nothing less than the future is at stake: if he succeeds in the required shot the next day, he will not only be allowed to marry his love, Agathe, but also to take over the hereditary forester’s estate. But after Max has lost today’s prize shooting, he lets himself be persuaded by the sinister marksman Kaspar to use free bullets, which always hit the desired target - admittedly without knowing that Kaspar had cunningly cursed his last bullet...
Der Freischütz, C. M. von Weber, the 25.
Lothar Koenigs - Dmitri Tcherniakov
Julia Kleiter, Mirjam Mesak, Eric Cutler, Sean Michael Plumb, Balint Szabo, Nicholas Brownlee
Staatsoper
La Traviata
G. Verdi
The last piece of the so-called trilogia popolare is a work of complete inner life and is rightly regarded as one of the masterpieces unsurpassed in the Romantic genre. Giuseppe Verdi (1813-1901) used the famous novel “La dame aux camélias” by the French writer Alexandre Dumas as his literary model; only the names of the protagonists were changed.
Although the opera was a great success from a musical point of view, at the same time the moral, overly permissive and liberal attitude of the work was criticized. With the “traviata” (= the Fallen woman) Verdi drew a highly sensitive main character on whom his whole attention is focused - like a psychological study of human nature with all its vices, hardships and desires, but also the ability to renounce for the sake of loved ones.
From the first note there is a suggestion of a soul drama that begins with an intimate prelude instead of the usual overture in the classical style. As an autobiographical element, the theme certainly includes the fact that Verdi’s partner Giuseppina Strepponi suffered from a serious illness and that Verdi, who had lost his first wife at an early age, also feared for her life. In addition, the composer’s relationship with Strepponi caused him slander, so that he used this theme artistically in the figure of his father, Germont, who was a well-behaved man.
The premiere in 1853 at the Teatro La Fenice turned out to be a farce due to several factors. On the one hand, certainly because Verdi held up an unwanted mirror to Italian society with this subject, on the other hand because of the vocal deficits of the interpreters. One year later, however, also in Venice and only slightly modified, the worldwide, unbroken triumph of “La traviata” began. Today the tragic love story around the courtesan Violetta is the most popular opera of Verdi and one of the most frequently performed works ever.
La Traviata, G. Verdi, the 26.
Francesco Ivan Ciampa - Günter Krämer
Rachel Willis-Sorensen,
Joseph Calleja
Maltese tenor Joseph Calleja was born on January 22, 1978 in Attard. Joseph Calleja discovers opera thanks to the film Le Grand Caruso. He began singing in his church choir at the age of sixteen. Joseph Calleja made his debut in Verdi’s Macbeth which he performed in Germany and for his American debut at the Seattle Opera. Winner of the Caruso Competition in Milan in 1998, Joseph Calleja played roles on the biggest stages in Europe in La Traviata, Les Puritains or La Bohême.
Joseph Calleja, Artur Rucinski
Staatsoper



Hotel informations for Munich 34
Munich, Bayerischer HofMunich, Bayerischer Hof
Bayerischer Hof *****
The privately run luxury hotel Bayerischer Hof *****, which has been run by the Volkhardt family for generations, has always been home to guests of the highest standard since its opening in 1841, from kings to Hollywood greats and pop stars. The ambience is correspondingly stylish, corresponding to the varied and individual design of the rooms. The centrally located on the Promenade Square house has always been characterized by excellent service. The spa area “Blue Spa” extends over three floors and offers u. a. a rooftop pool with beautiful views over the Bavarian metropolis. Five restaurants do not leave any culinary wishes unfulfilled. The opera is only a five-minute walk away.
Munich, Vier Jahreszeiten KempinskiMunich, Vier Jahreszeiten Kempinski
Vier Jahreszeiten Kempinski *****
The Vier Jahreszeiten hotel ***** is, since 1858, an establishment of long tradition. It is located in the city centre on the Maximilianstrasse and only two minutes away on foot from the Opera. Offering 303 rooms and 62 luxurious suites, there are also numerous facilities to take advantage of. Its restaurant, Schwarzreiter, enjoys an excellent reputation and it is particularly appreciated after an evening at the Opera.
Munich, Platzl HotelMunich, Platzl Hotel
Platzl Hotel ****
The Platzl hotel **** welcomes you in a charming atmosphere in the heart of Munich, only a few minutes away from the Opera. Its 167 rooms are comfortably equipped and tastefully decorated. The hotel also offers a restaurant of typical Munich ambience in a vaulted room as well as a health spa with sauna and Turkish bath.



All-inclusive price per person for Munich 34
Single room/ night
Bayerischer Hof
1.720,- Euro
140-250,- Euro
Vier Jahreszeiten Kempinski
1.720,- Euro
130-240,- Euro
Platzl Hotel
1.250,- Euro
90-200,- Euro



The price includes
Overnights including breakfast, good opera tickets, travel cancellation expenses insurance.