Robert Wilson’s creation Pessoa: Since I’ve Been Me receives its first run at the Teatro della Pergola in Florence.
Performed in Italian, French, Portuguese and English, with Italian surtitles.
For more information and tickets, click here.
Robert Wilson’s creation Pessoa: Since I’ve Been Me receives its first run at the Teatro della Pergola in Florence.
Performed in Italian, French, Portuguese and English, with Italian surtitles.
For more information and tickets, click here.
Robert Wilson’s creation Pessoa: Since I’ve Been Me receives its first run at the Teatro della Pergola in Florence.
Performed in Italian, French, Portuguese and English, with Italian surtitles.
For more information and tickets, click here.
Robert Wilson’s creation Pessoa: Since I’ve Been Me receives its first run at the Teatro della Pergola in Florence.
Performed in Italian, French, Portuguese and English, with Italian surtitles.
For more information and tickets, click here.
Painter Francis Bacon catches George Dyer red-handed breaking into his artist studio. Instead of calling the police, he paints his portrait. The two become a couple. - Painter Basil Hallward is obsessed with his model Dorian Gray. Gray wishes the painting would age instead of him. - Poet Oscar Wilde is the darling of London Society - until he is sent to prison for "indecent relations" with his lover Alfred Douglas.
Darryl Pinckney's text and Robert Wilson’s production of Dorian weave these three stories into an associative narrative flow, overlapping memories, reflections and feelings.
Performed in German with English surtitles (check web site to confirm).
Click here for tickets and more information.
Robert Wilson’s creation Pessoa: Since I’ve Been Me receives its first run at the Teatro della Pergola in Florence.
Performed in Italian, French, Portuguese and English, with Italian surtitles.
For more information and tickets, click here.
Robert Wilson’s creation Pessoa: Since I’ve Been Me receives its first run at the Teatro della Pergola in Florence.
Performed in Italian, French, Portuguese and English, with Italian surtitles.
For more information and tickets, click here.
Robert Wilson’s creation Pessoa: Since I’ve Been Me receives its first run at the Teatro della Pergola in Florence.
Performed in Italian, French, Portuguese and English, with Italian surtitles.
For more information and tickets, click here.
Mary Said What She Said is the testimony of Mary Queen of Scots drawn from her letters about her involvement in some of the most notorious plots of her time. She is lying, but on the eve of death has fear persuaded her that she is telling the truth? Queen Mary is in fact telling the truth about her last love. The title refers to the damning testimony against her by one of her ladies—her four closest attendants were each called Mary.
Robert Wilson directed this monologue by Darryl Pinckney with Isabelle Huppert in a production by the Théâtre de la Ville, Paris.
Performed in French with English surtitles.
For more information and tickets, please click here.
Robert Wilson’s creation Pessoa: Since I’ve Been Me receives its first run at the Teatro della Pergola in Florence.
Performed in Italian, French, Portuguese and English, with Italian surtitles.
For more information and tickets, click here.
Mary Said What She Said is the testimony of Mary Queen of Scots drawn from her letters about her involvement in some of the most notorious plots of her time. She is lying, but on the eve of death has fear persuaded her that she is telling the truth? Queen Mary is in fact telling the truth about her last love. The title refers to the damning testimony against her by one of her ladies—her four closest attendants were each called Mary.
Robert Wilson directed this monologue by Darryl Pinckney with Isabelle Huppert in a production by the Théâtre de la Ville, Paris.
Performed in French with English surtitles.
For more information and tickets, please click here.
Mary Said What She Said is the testimony of Mary Queen of Scots drawn from her letters about her involvement in some of the most notorious plots of her time. She is lying, but on the eve of death has fear persuaded her that she is telling the truth? Queen Mary is in fact telling the truth about her last love. The title refers to the damning testimony against her by one of her ladies—her four closest attendants were each called Mary.
Robert Wilson directed this monologue by Darryl Pinckney with Isabelle Huppert in a production by the Théâtre de la Ville, Paris.
Performed in French with English surtitles.
For more information and tickets, please click here.
Robert Wilson’s creation Pessoa: Since I’ve Been Me receives its first run at the Teatro della Pergola in Florence.
Performed in Italian, French, Portuguese and English, with Italian surtitles.
For more information and tickets, click here.
Mary Said What She Said is the testimony of Mary Queen of Scots drawn from her letters about her involvement in some of the most notorious plots of her time. She is lying, but on the eve of death has fear persuaded her that she is telling the truth? Queen Mary is in fact telling the truth about her last love. The title refers to the damning testimony against her by one of her ladies—her four closest attendants were each called Mary.
Robert Wilson directed this monologue by Darryl Pinckney with Isabelle Huppert in a production by the Théâtre de la Ville, Paris.
Performed in French with English surtitles.
For more information and tickets, please click here.
Robert Wilson’s creation Pessoa: Since I’ve Been Me receives its first run at the Teatro della Pergola in Florence.
Performed in Italian, French, Portuguese and English, with Italian surtitles.
For more information and tickets, click here.
Painter Francis Bacon catches George Dyer red-handed breaking into his artist studio. Instead of calling the police, he paints his portrait. The two become a couple. - Painter Basil Hallward is obsessed with his model Dorian Gray. Gray wishes the painting would age instead of him. - Poet Oscar Wilde is the darling of London Society - until he is sent to prison for "indecent relations" with his lover Alfred Douglas.
Darryl Pinckney's text and Robert Wilson’s production of Dorian weave these three stories into an associative narrative flow, overlapping memories, reflections and feelings.
Performed in Lithuanian with English surtitles.
Click here for tickets and more information.
Painter Francis Bacon catches George Dyer red-handed breaking into his artist studio. Instead of calling the police, he paints his portrait. The two become a couple. - Painter Basil Hallward is obsessed with his model Dorian Gray. Gray wishes the painting would age instead of him. - Poet Oscar Wilde is the darling of London Society - until he is sent to prison for "indecent relations" with his lover Alfred Douglas.
Darryl Pinckney's text and Robert Wilson’s production of Dorian weave these three stories into an associative narrative flow, overlapping memories, reflections and feelings.
Performed in Lithuanian with English surtitles.
Click here for tickets and more information.
The Tempest, Robert Wilson’s fifth Shakespeare production is a commission from the National Theater “Ivan Vazov” of Sofia, Bulgaria. Wilson’s previous works by the Bard included King Lear in Frankfurt (1990), HAMLET: a monologue, performed by Wilson first in Houston (1995), and A Winter’s Tale (2005) and Shakespeare’s Sonnets (2009) at the Berliner Ensemble.
For more information and tickets, please click here.
Robert Wilson’s The Sandman, a ghost story from German Romanticism, with music by British dramatic rock singer songwriter Anna Calvi, is showing again this season at the D’haus. Previous productions of 'dark fairy tales' by Robert Wilson include The Black Rider (Hamburg 1990) and Peter Pan (Berlin 2013).
Performed in German with English surtitles.
For more information click here.
Robert Wilson’s The Sandman, a ghost story from German Romanticism, with music by British dramatic rock singer songwriter Anna Calvi, is showing again this season at the D’haus. Previous productions of 'dark fairy tales' by Robert Wilson include The Black Rider (Hamburg 1990) and Peter Pan (Berlin 2013).
Performed in German with English surtitles.
For more information click here.
Robert Wilson’s The Sandman, a ghost story from German Romanticism, with music by British dramatic rock singer songwriter Anna Calvi, is showing again this season at the D’haus. Previous productions of 'dark fairy tales' by Robert Wilson include The Black Rider (Hamburg 1990) and Peter Pan (Berlin 2013).
Performed in German with English surtitles.
For more information click here.
The revival of Robert Wilson's signature production of Madama Butterfly, which originated at the National Opera Paris in 1993, features exquisite costumes by Frida Parmeggiani and choreography by the late Japanese artist and long-time collaborator of Wilson, Suzushi Hanayagi. Robert Wilson aimed at directing a refined version, outside of the all the "fake Japanese, cherry blossom and all of the traditional clichés on Japanese culture". The aesthetics of this production and the acting are largely inspired by Butoh, a Japanese form of dance characterized by slow motion, poetry and minimalism.
The production has been shown at The Netherlands Opera Amsterdam, The Bolshoi Theater Moscow, Los Angeles Opera and others, and remains in the Paris Opera's repertoire.
More information and tickets here.
The revival of Robert Wilson's signature production of Madama Butterfly, which originated at the National Opera Paris in 1993, features exquisite costumes by Frida Parmeggiani and choreography by the late Japanese artist and long-time collaborator of Wilson, Suzushi Hanayagi. Robert Wilson aimed at directing a refined version, outside of the all the "fake Japanese, cherry blossom and all of the traditional clichés on Japanese culture". The aesthetics of this production and the acting are largely inspired by Butoh, a Japanese form of dance characterized by slow motion, poetry and minimalism.
The production has been shown at The Netherlands Opera Amsterdam, The Bolshoi Theater Moscow, Los Angeles Opera and others, and remains in the Paris Opera's repertoire.
More information and tickets here.
The revival of Robert Wilson's signature production of Madama Butterfly, which originated at the National Opera Paris in 1993, features exquisite costumes by Frida Parmeggiani and choreography by the late Japanese artist and long-time collaborator of Wilson, Suzushi Hanayagi. Robert Wilson aimed at directing a refined version, outside of the all the "fake Japanese, cherry blossom and all of the traditional clichés on Japanese culture". The aesthetics of this production and the acting are largely inspired by Butoh, a Japanese form of dance characterized by slow motion, poetry and minimalism.
The production has been shown at The Netherlands Opera Amsterdam, The Bolshoi Theater Moscow, Los Angeles Opera and others, and remains in the Paris Opera's repertoire.
More information and tickets here.
The revival of Robert Wilson's signature production of Madama Butterfly, which originated at the National Opera Paris in 1993, features exquisite costumes by Frida Parmeggiani and choreography by the late Japanese artist and long-time collaborator of Wilson, Suzushi Hanayagi. Robert Wilson aimed at directing a refined version, outside of the all the "fake Japanese, cherry blossom and all of the traditional clichés on Japanese culture". The aesthetics of this production and the acting are largely inspired by Butoh, a Japanese form of dance characterized by slow motion, poetry and minimalism.
The production has been shown at The Netherlands Opera Amsterdam, The Bolshoi Theater Moscow, Los Angeles Opera and others, and remains in the Paris Opera's repertoire.
More information and tickets here.
The revival of Robert Wilson's signature production of Madama Butterfly, which originated at the National Opera Paris in 1993, features exquisite costumes by Frida Parmeggiani and choreography by the late Japanese artist and long-time collaborator of Wilson, Suzushi Hanayagi. Robert Wilson aimed at directing a refined version, outside of the all the "fake Japanese, cherry blossom and all of the traditional clichés on Japanese culture". The aesthetics of this production and the acting are largely inspired by Butoh, a Japanese form of dance characterized by slow motion, poetry and minimalism.
The production has been shown at The Netherlands Opera Amsterdam, The Bolshoi Theater Moscow, Los Angeles Opera and others, and remains in the Paris Opera's repertoire.
More information and tickets here.
The revival of Robert Wilson's signature production of Madama Butterfly, which originated at the National Opera Paris in 1993, features exquisite costumes by Frida Parmeggiani and choreography by the late Japanese artist and long-time collaborator of Wilson, Suzushi Hanayagi. Robert Wilson aimed at directing a refined version, outside of the all the "fake Japanese, cherry blossom and all of the traditional clichés on Japanese culture". The aesthetics of this production and the acting are largely inspired by Butoh, a Japanese form of dance characterized by slow motion, poetry and minimalism.
The production has been shown at The Netherlands Opera Amsterdam, The Bolshoi Theater Moscow, Los Angeles Opera and others, and remains in the Paris Opera's repertoire.
More information and tickets here.
The revival of Robert Wilson's signature production of Madama Butterfly, which originated at the National Opera Paris in 1993, features exquisite costumes by Frida Parmeggiani and choreography by the late Japanese artist and long-time collaborator of Wilson, Suzushi Hanayagi. Robert Wilson aimed at directing a refined version, outside of the all the "fake Japanese, cherry blossom and all of the traditional clichés on Japanese culture". The aesthetics of this production and the acting are largely inspired by Butoh, a Japanese form of dance characterized by slow motion, poetry and minimalism.
The production has been shown at The Netherlands Opera Amsterdam, The Bolshoi Theater Moscow, Los Angeles Opera and others, and remains in the Paris Opera's repertoire.
More information and tickets here.
The revival of Robert Wilson's signature production of Madama Butterfly, which originated at the National Opera Paris in 1993, features exquisite costumes by Frida Parmeggiani and choreography by the late Japanese artist and long-time collaborator of Wilson, Suzushi Hanayagi. Robert Wilson aimed at directing a refined version, outside of the all the "fake Japanese, cherry blossom and all of the traditional clichés on Japanese culture". The aesthetics of this production and the acting are largely inspired by Butoh, a Japanese form of dance characterized by slow motion, poetry and minimalism.
The production has been shown at The Netherlands Opera Amsterdam, The Bolshoi Theater Moscow, Los Angeles Opera and others, and remains in the Paris Opera's repertoire.
More information and tickets here.
The revival of Robert Wilson's signature production of Madama Butterfly, which originated at the National Opera Paris in 1993, features exquisite costumes by Frida Parmeggiani and choreography by the late Japanese artist and long-time collaborator of Wilson, Suzushi Hanayagi. Robert Wilson aimed at directing a refined version, outside of the all the "fake Japanese, cherry blossom and all of the traditional clichés on Japanese culture". The aesthetics of this production and the acting are largely inspired by Butoh, a Japanese form of dance characterized by slow motion, poetry and minimalism.
The production has been shown at The Netherlands Opera Amsterdam, The Bolshoi Theater Moscow, Los Angeles Opera and others, and remains in the Paris Opera's repertoire.
More information and tickets here.
The revival of Robert Wilson's signature production of Madama Butterfly, which originated at the National Opera Paris in 1993, features exquisite costumes by Frida Parmeggiani and choreography by the late Japanese artist and long-time collaborator of Wilson, Suzushi Hanayagi. Robert Wilson aimed at directing a refined version, outside of the all the "fake Japanese, cherry blossom and all of the traditional clichés on Japanese culture". The aesthetics of this production and the acting are largely inspired by Butoh, a Japanese form of dance characterized by slow motion, poetry and minimalism.
The production has been shown at The Netherlands Opera Amsterdam, The Bolshoi Theater Moscow, Los Angeles Opera and others, and remains in the Paris Opera's repertoire.
More information and tickets here.
The revival of Robert Wilson's signature production of Madama Butterfly, which originated at the National Opera Paris in 1993, features exquisite costumes by Frida Parmeggiani and choreography by the late Japanese artist and long-time collaborator of Wilson, Suzushi Hanayagi. Robert Wilson aimed at directing a refined version, outside of the all the "fake Japanese, cherry blossom and all of the traditional clichés on Japanese culture". The aesthetics of this production and the acting are largely inspired by Butoh, a Japanese form of dance characterized by slow motion, poetry and minimalism.
The production has been shown at The Netherlands Opera Amsterdam, The Bolshoi Theater Moscow, Los Angeles Opera and others, and remains in the Paris Opera's repertoire.
More information and tickets here.
The revival of Robert Wilson's signature production of Madama Butterfly, which originated at the National Opera Paris in 1993, features exquisite costumes by Frida Parmeggiani and choreography by the late Japanese artist and long-time collaborator of Wilson, Suzushi Hanayagi. Robert Wilson aimed at directing a refined version, outside of the all the "fake Japanese, cherry blossom and all of the traditional clichés on Japanese culture". The aesthetics of this production and the acting are largely inspired by Butoh, a Japanese form of dance characterized by slow motion, poetry and minimalism.
The production has been shown at The Netherlands Opera Amsterdam, The Bolshoi Theater Moscow, Los Angeles Opera and others, and remains in the Paris Opera's repertoire.
More information and tickets here.
After Madama Butterfly (Paris, 1993), Turandot is Giacomo Puccini's second opera to be directed by Robert Wilson.
More information and tickets here.
After Madama Butterfly (Paris, 1993), Turandot is Giacomo Puccini's second opera to be directed by Robert Wilson.
More information and tickets here.
The revival of Robert Wilson's signature production of Madama Butterfly, which originated at the National Opera Paris in 1993, features exquisite costumes by Frida Parmeggiani and choreography by the late Japanese artist and long-time collaborator of Wilson, Suzushi Hanayagi. Robert Wilson aimed at directing a refined version, outside of the all the "fake Japanese, cherry blossom and all of the traditional clichés on Japanese culture". The aesthetics of this production and the acting are largely inspired by Butoh, a Japanese form of dance characterized by slow motion, poetry and minimalism.
The production has been shown at The Netherlands Opera Amsterdam, The Bolshoi Theater Moscow, Los Angeles Opera and others, and remains in the Paris Opera's repertoire.
More information and tickets here.
After Madama Butterfly (Paris, 1993), Turandot is Giacomo Puccini's second opera to be directed by Robert Wilson.
More information and tickets here.
After Madama Butterfly (Paris, 1993), Turandot is Giacomo Puccini's second opera to be directed by Robert Wilson.
More information and tickets here.
After Madama Butterfly (Paris, 1993), Turandot is Giacomo Puccini's second opera to be directed by Robert Wilson.
More information and tickets here.
After Madama Butterfly (Paris, 1993), Turandot is Giacomo Puccini's second opera to be directed by Robert Wilson.
More information and tickets here.
After Madama Butterfly (Paris, 1993), Turandot is Giacomo Puccini's second opera to be directed by Robert Wilson.
More information and tickets here.
The Tempest, Robert Wilson’s fifth Shakespeare production is a commission from the National Theater “Ivan Vazov” of Sofia, Bulgaria. Wilson’s previous works by the Bard included King Lear in Frankfurt (1990), HAMLET: a monologue, performed by Wilson first in Houston (1995), and A Winter’s Tale (2005) and Shakespeare’s Sonnets (2009) at the Berliner Ensemble.
For more information and tickets, please click here.
“Jungle Book is a work for all ages. I always liked what Baudelaire said: ‘Genius is no more than childhood recaptured at will.’” (Robert Wilson)
For more information click here. (Factory International)
“Jungle Book is a work for all ages. I always liked what Baudelaire said: ‘Genius is no more than childhood recaptured at will.’” (Robert Wilson)
For more information click here. (Factory International)
“Jungle Book is a work for all ages. I always liked what Baudelaire said: ‘Genius is no more than childhood recaptured at will.’” (Robert Wilson)
For more information click here. (Factory International)
“Jungle Book is a work for all ages. I always liked what Baudelaire said: ‘Genius is no more than childhood recaptured at will.’” (Robert Wilson)
For more information click here. (Factory International)
“Jungle Book is a work for all ages. I always liked what Baudelaire said: ‘Genius is no more than childhood recaptured at will.’” (Robert Wilson)
For more information click here. (Factory International)
“Jungle Book is a work for all ages. I always liked what Baudelaire said: ‘Genius is no more than childhood recaptured at will.’” (Robert Wilson)
For more information click here. (Factory International)
Oratorio in three parts for soloists, choir and orchestra by Georg Friedrich Händel edited by Mozart
Mozart’s German-language version of Handel’s Messiah is famous, though seldom heard. Written in 1789, at the request of baroque enthusiast Gottfried van Swieten, this profound arrangement of Handel’s best-known oratorio includes copious woodwind parts.
More information and tickets here.
Oratorio in three parts for soloists, choir and orchestra by Georg Friedrich Händel edited by Mozart
Mozart’s German-language version of Handel’s Messiah is famous, though seldom heard. Written in 1789, at the request of baroque enthusiast Gottfried van Swieten, this profound arrangement of Handel’s best-known oratorio includes copious woodwind parts.
More information and tickets here.
—Robert Wilson and the team of RW Work
Pushkin wrote the Fairy Tales at his country home Boldino between 1830 and 1834. The tales' sources vary from Russian folklore themes to Western tales. Written in verse, a humourous narrator alternates with dialogue of the characters. Rich symbolism and enigmatic structures ('Tale of the Golden Cockerel,' 'Tale of the Priest and his workman Balda') and powerful imagery ('Tale of the Fisherman,' 'Tale of Tsar Saltan') are central characteristics of these late works by the great Russian poet. Robert Wilson’s production of Pushkin's Fairy Tales unites four of the five tales in addition to the rather unknown fragment of the 'Tale of the She-Bear.'
More information and tickets can be found here.
Oratorio in three parts for soloists, choir and orchestra by Georg Friedrich Händel edited by Mozart
Mozart’s German-language version of Handel’s Messiah is famous, though seldom heard. Written in 1789, at the request of baroque enthusiast Gottfried van Swieten, this profound arrangement of Handel’s best-known oratorio includes copious woodwind parts.
More information and tickets here.
—Robert Wilson and the team of RW Work
Pushkin wrote the Fairy Tales at his country home Boldino between 1830 and 1834. The tales' sources vary from Russian folklore themes to Western tales. Written in verse, a humourous narrator alternates with dialogue of the characters. Rich symbolism and enigmatic structures ('Tale of the Golden Cockerel,' 'Tale of the Priest and his workman Balda') and powerful imagery ('Tale of the Fisherman,' 'Tale of Tsar Saltan') are central characteristics of these late works by the great Russian poet. Robert Wilson’s production of Pushkin's Fairy Tales unites four of the five tales in addition to the rather unknown fragment of the 'Tale of the She-Bear.'
More information and tickets can be found here.
Oratorio in three parts for soloists, choir and orchestra by Georg Friedrich Händel edited by Mozart
Mozart’s German-language version of Handel’s Messiah is famous, though seldom heard. Written in 1789, at the request of baroque enthusiast Gottfried van Swieten, this profound arrangement of Handel’s best-known oratorio includes copious woodwind parts.
More information and tickets here.
—Robert Wilson and the team of RW Work
Pushkin wrote the Fairy Tales at his country home Boldino between 1830 and 1834. The tales' sources vary from Russian folklore themes to Western tales. Written in verse, a humourous narrator alternates with dialogue of the characters. Rich symbolism and enigmatic structures ('Tale of the Golden Cockerel,' 'Tale of the Priest and his workman Balda') and powerful imagery ('Tale of the Fisherman,' 'Tale of Tsar Saltan') are central characteristics of these late works by the great Russian poet. Robert Wilson’s production of Pushkin's Fairy Tales unites four of the five tales in addition to the rather unknown fragment of the 'Tale of the She-Bear.'
More information and tickets can be found here.
—Robert Wilson and the team of RW Work
Pushkin wrote the Fairy Tales at his country home Boldino between 1830 and 1834. The tales' sources vary from Russian folklore themes to Western tales. Written in verse, a humourous narrator alternates with dialogue of the characters. Rich symbolism and enigmatic structures ('Tale of the Golden Cockerel,' 'Tale of the Priest and his workman Balda') and powerful imagery ('Tale of the Fisherman,' 'Tale of Tsar Saltan') are central characteristics of these late works by the great Russian poet. Robert Wilson’s production of Pushkin's Fairy Tales unites four of the five tales in addition to the rather unknown fragment of the 'Tale of the She-Bear.'
More information and tickets can be found here.
—Robert Wilson and the team of RW Work
Pushkin wrote the Fairy Tales at his country home Boldino between 1830 and 1834. The tales' sources vary from Russian folklore themes to Western tales. Written in verse, a humourous narrator alternates with dialogue of the characters. Rich symbolism and enigmatic structures ('Tale of the Golden Cockerel,' 'Tale of the Priest and his workman Balda') and powerful imagery ('Tale of the Fisherman,' 'Tale of Tsar Saltan') are central characteristics of these late works by the great Russian poet. Robert Wilson’s production of Pushkin's Fairy Tales unites four of the five tales in addition to the rather unknown fragment of the 'Tale of the She-Bear.'
More information and tickets can be found here.
Oratorio in three parts for soloists, choir and orchestra by Georg Friedrich Händel edited by Mozart
Mozart’s German-language version of Handel’s Messiah is famous, though seldom heard. Written in 1789, at the request of baroque enthusiast Gottfried van Swieten, this profound arrangement of Handel’s best-known oratorio includes copious woodwind parts.
More information and tickets here.
Oratorio in three parts for soloists, choir and orchestra by Georg Friedrich Händel edited by Mozart
Mozart’s German-language version of Handel’s Messiah is famous, though seldom heard. Written in 1789, at the request of baroque enthusiast Gottfried van Swieten, this profound arrangement of Handel’s best-known oratorio includes copious woodwind parts.
More information and tickets here.
The Tempest, Robert Wilson’s fifth Shakespeare production is a commission from the National Theater “Ivan Vazov” of Sofia, Bulgaria. Wilson’s previous works by the Bard included King Lear in Frankfurt (1990), HAMLET: a monologue, performed by Wilson first in Houston (1995), and A Winter’s Tale (2005) and Shakespeare’s Sonnets (2009) at the Berliner Ensemble.
For more information and tickets, please click here.
Oratorio in three parts for soloists, choir and orchestra by Georg Friedrich Händel edited by Mozart
Mozart’s German-language version of Handel’s Messiah is famous, though seldom heard. Written in 1789, at the request of baroque enthusiast Gottfried van Swieten, this profound arrangement of Handel’s best-known oratorio includes copious woodwind parts.
More information and tickets here.
Oratorio in three parts for soloists, choir and orchestra by Georg Friedrich Händel edited by Mozart
Mozart’s German-language version of Handel’s Messiah is famous, though seldom heard. Written in 1789, at the request of baroque enthusiast Gottfried van Swieten, this profound arrangement of Handel’s best-known oratorio includes copious woodwind parts.
More information and tickets here.
Painter Francis Bacon catches George Dyer red-handed breaking into his artist studio. Instead of calling the police, he paints his portrait. The two become a couple. - Painter Basil Hallward is obsessed with his model Dorian Gray. Gray wishes the painting would age instead of him. - Poet Oscar Wilde is the darling of London Society - until he is sent to prison for "indecent relations" with his lover Alfred Douglas.
Darryl Pinckney's text and Robert Wilson’s production of Dorian weave these three stories into an associative narrative flow, overlapping memories, reflections and feelings.
Performed in German with English surtitles (check web site to confirm).
Click here for tickets and more information.
The Tempest, Robert Wilson’s fifth Shakespeare production is a commission from the National Theater “Ivan Vazov” of Sofia, Bulgaria. Wilson’s previous works by the Bard included King Lear in Frankfurt (1990), HAMLET: a monologue, performed by Wilson first in Houston (1995), and A Winter’s Tale (2005) and Shakespeare’s Sonnets (2009) at the Berliner Ensemble.
For more information and tickets, please click here.
After 22 years, a new production by Robert Wilson at the Thalia Theater Hamburg, which was home to earlier successes such as Hamletmachine (1986) or The Black Rider (1990).
For more information and tickets click here.
After 22 years, a new production by Robert Wilson at the Thalia Theater Hamburg, which was home to earlier successes such as Hamletmachine (1986) or The Black Rider (1990).
For more information and tickets click here.
Robert Wilson directs Edward Albee's play Three Tall Women at the Municipal Theatre of Piraeus, starring three acclaimed Greek actresses, Reni Pittaki, Karofillia Karabeti and Loukia Michalopoulou.
Performed in Greek.
For more information and tickets, click here.
Painter Francis Bacon catches George Dyer red-handed breaking into his artist studio. Instead of calling the police, he paints his portrait. The two become a couple. - Painter Basil Hallward is obsessed with his model Dorian Gray. Gray wishes the painting would age instead of him. - Poet Oscar Wilde is the darling of London Society - until he is sent to prison for "indecent relations" with his lover Alfred Douglas.
Darryl Pinckney's text and Robert Wilson’s production of Dorian weave these three stories into an associative narrative flow, overlapping memories, reflections and feelings.
Performed in Lithuanian with English surtitles.
Click here for tickets and more information.
Robert Wilson directs Edward Albee's play Three Tall Women at the Municipal Theatre of Piraeus, starring three acclaimed Greek actresses, Reni Pittaki, Karofillia Karabeti and Loukia Michalopoulou.
Performed in Greek.
For more information and tickets, click here.
Painter Francis Bacon catches George Dyer red-handed breaking into his artist studio. Instead of calling the police, he paints his portrait. The two become a couple. - Painter Basil Hallward is obsessed with his model Dorian Gray. Gray wishes the painting would age instead of him. - Poet Oscar Wilde is the darling of London Society - until he is sent to prison for "indecent relations" with his lover Alfred Douglas.
Darryl Pinckney's text and Robert Wilson’s production of Dorian weave these three stories into an associative narrative flow, overlapping memories, reflections and feelings.
Performed in Lithuanian with English surtitles.
Click here for tickets and more information.
Robert Wilson directs Edward Albee's play Three Tall Women at the Municipal Theatre of Piraeus, starring three acclaimed Greek actresses, Reni Pittaki, Karofillia Karabeti and Loukia Michalopoulou.
Performed in Greek.
For more information and tickets, click here.