A call for unity that resonates through history as an echo from the past.

A call for unity that resonates through history as an echo from the past.

A call for unity that resonates through history as an echo from the past.

A call for unity that resonates through history as an echo from the past.

A call for unity that resonates through history as an echo from the past.

Un’epica meditazione sulla vita e la morte, una musica lussureggiante capace di accostare marce, danze rustiche e voci celesti!

When he started writing in 1888, the then-28-year-old Mahler faced a series of intense existential questions. “Why have you lived? Why have you suffered? Is it all some huge, awful joke? We have to answer these questions somehow if we are to go on living – indeed, even if we are only to go on dying!”

When he started writing in 1888, the then-28-year-old Mahler faced a series of intense existential questions. “Why have you lived? Why have you suffered? Is it all some huge, awful joke? We have to answer these questions somehow if we are to go on living – indeed, even if we are only to go on dying!”

In Kooperation mit dem Referat Kultur der Stadt Kaiserslautern…

More than just an ode to joy, it is an ode to peace…

More than just an ode to joy, it is an ode to peace…

More than just an ode to joy, it is an ode to peace…

200 Jahre Ode An die Freude. 200 Jahre Beethovens Neunte Sinfonie.

Beethoven’s enduring masterpiece makes a triumphant return in 2024!

Beethoven’s enduring masterpiece makes a triumphant return in 2024!

Beethoven’s enduring masterpiece makes a triumphant return in 2024!

Award-winning Australian soprano Eleanor Lyons joins Ensemble Liaison for an evening of transcendent chamber music.

Clerici is back to the podium in Four Last Songs, where Australian soprano Eleanor Lyons soars over Strauss’ exquisitely atmospheric melodies that don’t feel out of place next to Wagner’s Overture to The Flying Dutchman.

Clerici is back to the podium in Four Last Songs, where Australian soprano Eleanor Lyons soars over Strauss’ exquisitely atmospheric melodies that don’t feel out of place next to Wagner’s Overture to The Flying Dutchman.

Freedom! This production of Fidelio from 1989 is one pinnacle in the history of opera in Dresden.

Freedom! This production of Fidelio from 1989 is one pinnacle in the history of opera in Dresden.

Freedom! This production of Fidelio from 1989 is one pinnacle in the history of opera in Dresden.

Freedom! This production of Fidelio from 1989 is one pinnacle in the history of opera in Dresden.

Freedom! This production of Fidelio from 1989 is one pinnacle in the history of opera in Dresden.

En la Viena de 1805 había que ser un analfabeto político para no enterarse de que una ópera sobre la liberación de un preso tenía algo que ver con la Revolución Francesa…

En la Viena de 1805 había que ser un analfabeto político para no enterarse de que una ópera sobre la liberación de un preso tenía algo que ver con la Revolución Francesa.

The glorious collaboration between composer Wolfgang Amadeus Mozart and librettist Lorenzo Da Ponte began with Le nozze di Figaro. The story starts with an apparently simple desire – Susanna and Figaro want to get married – and soon degenerates into an intrigue comedy that takes us, in one crazy day, through doors, out a window, to the army, through a courtroom and into the garden. The count appears to have designs on Susanna; The countess misses the count; Marcellina demands Figaro; Bartolo is out for revenge; Cherubino actually wants all women; Antonio is attached to his carnations and something drives Don Basilio. Can you still follow? If not, no worries: Tom Goossens is the ideal director to unravel all those threads once and for all with comic precision. And among all those complications, Mozart knows how to stack up the musical highlights like no other, this time interpreted by audience favourites such as Eleanor Lyons, Kartal Karagedik and Anna Pennisi.

The glorious collaboration between composer Wolfgang Amadeus Mozart and librettist Lorenzo Da Ponte began with Le nozze di Figaro. The story starts with an apparently simple desire – Susanna and Figaro want to get married – and soon degenerates into an intrigue comedy that takes us, in one crazy day, through doors, out a window, to the army, through a courtroom and into the garden. The count appears to have designs on Susanna; The countess misses the count; Marcellina demands Figaro; Bartolo is out for revenge; Cherubino actually wants all women; Antonio is attached to his carnations and something drives Don Basilio. Can you still follow? If not, no worries: Tom Goossens is the ideal director to unravel all those threads once and for all with comic precision. And among all those complications, Mozart knows how to stack up the musical highlights like no other, this time interpreted by audience favourites such as Eleanor Lyons, Kartal Karagedik and Anna Pennisi.

The glorious collaboration between composer Wolfgang Amadeus Mozart and librettist Lorenzo Da Ponte began with Le nozze di Figaro. The story starts with an apparently simple desire – Susanna and Figaro want to get married – and soon degenerates into an intrigue comedy that takes us, in one crazy day, through doors, out a window, to the army, through a courtroom and into the garden. The count appears to have designs on Susanna; The countess misses the count; Marcellina demands Figaro; Bartolo is out for revenge; Cherubino actually wants all women; Antonio is attached to his carnations and something drives Don Basilio. Can you still follow? If not, no worries: Tom Goossens is the ideal director to unravel all those threads once and for all with comic precision. And among all those complications, Mozart knows how to stack up the musical highlights like no other, this time interpreted by audience favourites such as Eleanor Lyons, Kartal Karagedik and Anna Pennisi.

The glorious collaboration between composer Wolfgang Amadeus Mozart and librettist Lorenzo Da Ponte began with Le nozze di Figaro. The story starts with an apparently simple desire – Susanna and Figaro want to get married – and soon degenerates into an intrigue comedy that takes us, in one crazy day, through doors, out a window, to the army, through a courtroom and into the garden. The count appears to have designs on Susanna; The countess misses the count; Marcellina demands Figaro; Bartolo is out for revenge; Cherubino actually wants all women; Antonio is attached to his carnations and something drives Don Basilio. Can you still follow? If not, no worries: Tom Goossens is the ideal director to unravel all those threads once and for all with comic precision. And among all those complications, Mozart knows how to stack up the musical highlights like no other, this time interpreted by audience favourites such as Eleanor Lyons, Kartal Karagedik and Anna Pennisi.